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Search Results for: Danzón
To speak of Leonardo Ortiz Chacón is to speak of a musical institution of Mexico
Performer of the tres, composer, arranger, music and radio producer, director and founder of Combo Ninguno since 1983.
He studied at the Faculty of Music of the UV, in JAZZUV, in Musinetwork in Boston MA and with teachers Luis Martinez, Carlos Tercero and Edgar Dorantes, he is a teacher of Musical Education in the Ministry of Education of Veracruz and since January 2019 participates in the direction of the Papakilistli Orchestra of the same Secretariat.
He has collaborated in television as musical director of the program “Cómo suena la clave” in TV Más. He is currently producer and host of the program “Cadencia Caribe”.
Since 1983 in Xalapa, the members of Combo perform dance music from the Antilles, integrating a repertoire with their own creations and original arrangements to themes of other authors in different musical genres such as son, guaracha, mambo, merengue, danzón, bolero, etc, achieving in their thematic diversity, a unique sound full of references to their native state of Veracruz.
He has taught workshops of appreciation and execution of Caribbean music and has participated as a lecturer and speaker on this subject in countless events, have been presented in Spain, Cuba, United States and Canada.
Accessing different forums from the small and improvised street space to large venues with capacity for tens of thousands of spectators such as the Azteca stadium or the Salsa Fest in Boca del Rio.
He has performed at prestigious cultural festivals such as the Cervantino, the Quimera, the Afro-Caribbean of Veracruz, the Vancouver Folk Festival and the International of Houston, at Fairs such as the San Marcos and the Expo Sevilla, Carnivals such as the one of Veracruz, Havana and the Mardi Gras in New Orleans and Galveston Texas.
Maestro Leo, how can you define yourself in the music scene?
I see myself as someone captivated by this music since I heard it for the first time, thanks to it I have been able to enjoy unforgettable moments and for many years I have not had a day in my life without doing something related to music. Be it as a performer, manager, broadcaster, props man, audio manager, producer, etc.
I understand that you have had many presentations abroad?
For me there have been many and I would like to have more. I think I have been fortunate to take advantage of the opportunities that have presented themselves with Combo Ninguno. I must say that personally I would never have been able to be in the places where music has taken me.
As part of your presentations you toured the U.S. How pleasant was the experience?
At one time we participated in a project to promote tourism in the State of Veracruz and we continually visited the State of Texas and then extended to Louisiana and Colorado, thanks to this an American promoter invited us to tour from coast to coast presenting a show of music and dance that began in New Hampshire and continued in New York, Pennsylvania, Illinois and other states to conclude in California after performing in New Mexico and Arizona. The program of the presentations was with original repertoire and Mexican authors.
What did it mean to you to perform for the first time in such a musical country where many great exponents of the island of Cuba came from?tional in 1989 at the Na Theater of Cuba
For me this was one of the memorable moments that I thank to music, the fact of participating with Combo Ninguno in a Gala dedicated to Mexico, in such an important place in Cuba, the country where this music was born.
I tell you that my emotion was so great that at the beginning of our performance, I could not complete the first verse of the song with which we opened, it was El jarocho by Lino Carrillo, I had to sing: Jarocho yo soy señores and I only said Jarocho, the rest was a sort of incomprehensible sounds that I could emit with a lump in my throat.
Have you had an endless number of participations in Cultural Festivals, which is the one that leaves a mark on you in your own country?
I can’t say one in particular, I remember presentations at anti-nuclear rallies where there were children, young people, adults and elderly people that were not festivals strictly speaking, a Cervantino festival where in the middle of a downpour people danced in the Alhóndiga de Granaditas under an impressive downpour, the Festival de la Nueva Canción Mexicana where we performed for the first time in 1983. And I could go on mentioning many more.
How did the Como Suena La Clave Festival come about?
This festival arises with the intention of being a showcase where to make visible and position the Mexican orchestras with original proposal. Trying to promote, preserve and spread salsa music made in Mexico.
At first the orchestras were invited to play original arrangements of songs by other composers, then they were asked to play music by national composers and nowadays they are asked to play original music complemented of course with songs by national composers.
You don’t stop, you continue harvesting and now the project Coloquio Musical Afroantillano is born, why make this new proposal?
I think that in Mexico little is reflected and little is written about this genre. It seems that when we take the music out of the dance floor, we lose the rhythm and also the step.
For some time now, most of the debates on this subject have taken place backstage and in the places where musicians and some dancers gather to refresh themselves after the events. Recently, social networks have continued with this exercise, I must point out that for decades the main topic to be discussed has been: Does salsa exist or not? Should it be called salsa or son? And I believe that among other issues, we have left aside fundamental matters such as the creative part, the economic aspect and the diffusion.
Based on this consideration and thanks to the support of Rafael Figueroa, the Festival Como suena la clave, the Centro de Estudios de la Cultura y la Comunicación of the Universidad Veracruzana and the Red de estudios de la Música Afroantillana en México convened the Colloquium La música afroantillana en México: confluencias y divergencias where the participants in a framework of cordiality and respect have made valuable contributions that will be included in a report that will be released as a digital multimedia document for free distribution.
Do you think that the music called salsa is evolving worldwide?
I don’t have the slightest doubt about it, just as I don’t hesitate to mention that due to diffusion factors we only know a small part of the new salsa music that is being made in many places and that perhaps most of the music that is more accessible to us on digital platforms is not the best.
Have you experienced the best times in music today, and what do you think is missing?
Among other things, today and always it will be necessary to contribute new music that increases the cultural heritage of this genre. We need to talk about our present without forgetting the past, about our environment and our daily life in a globalized world. We need to speak our own language and disseminate these productions in the best possible way, trying to overcome the reluctance of many towards what is new and what does not come from the places where this music has traditionally been produced.
Already with seventeen record productions, now that you have worked on them, which is the production that has marked the history of Combo Ninguno? What has been the one that has left the greatest mark on you?
Undoubtedly the most significant record production is the first one, in it, as in each of the subsequent ones, our desires and also our possibilities and limitations are recorded musically. The most present record you have now is the one you are making or that you intend to make. Each record becomes a part of your musical history and your own life.
Have I heard salsa with the jalapeño touch mentioned because of that phrase?
In our case it is an advertising phrase that alludes to the hot sauce. Salsa with jalapeño flavor. Initially it was used for our presentations in the United States where the chili peppers are called jalapeños. Today we use it by writing jalapeños with an x.
Combo None other cultural heritage that we have while we are still alive that you feel after 39 years in the music industry?
I’m looking forward to at least as many more. Looking back I realize that Combo Ninguno became a life project that has filled my days with music, so there will always be little I can do for music.
What do you expect from Leonardo Ortiz Combo Ninguno?
I have two record productions pending with Combo Ninguno, one of them is already quite advanced and I hope to finish both this year. I hope to give continuity to the Festival Como suena la clave and continue participating and enjoying everything that has to do with salsa made in Mexico.
Maestro, what would you like to say goodbye with and what message would you like to leave to the new generations?
I would invite them, besides the musical study, to try to make their contribution and leave their name in the salsa made in Mexico, to document their creativity in our reality and then communicate it in their creations, I would also ask them to debate and collaborate with their colleagues.
DISCOGRAPHY
In their discographic work we can see a style that can be projected without problems towards the universal, but that does not cease to feed on their own Veracruz identity by offering us a combination of traditional and original pieces that exude Veracruz and Afro-Hispanic Caribbean flavor.
To date they have made seventeen recordings, seven exclusively of combo none:
– Tumba Verde (1987)
– Traigo este son (1990)
– Son de amor (1994)
– Carnaval Veracruzano (2001)
– Con Sabor a Veracruz (2005)
– La Bruja recorded at the 17th Afro-Caribbean Festival Veracruz 2011 (2012)
– Inventario- Combo Ninguno, of which the singles Descarga de las flores, Calaveritas de Azúcar and Alambre, cuero y madera have been presented.
And ten productions in which they intervene with other groups:
– Son 13 rolas antinucleares (1989).
– Somos indios (1995)
– Homenaje a Luis Martínez, recorded live at Barlovento de Xalapa in the 1st.
Festival Como Suena la Clave 1997 (1998)
– Tribute to Carlos Pitalúa, recorded live at Barlovento de Xalapa in the 2nd Festival Como Suena la Clave 1998 (1998).
Festival Como Suena la Clave 1998 (1999)
– From Son to Danzón (2000)
– Tribute to Emilio Domínguez, recorded live at Barlovento de Xalapa in the 3rd Festival Como Suena la Clave 1998 (2000)
3rd Festival Como Suena la Clave 2004 (2010)
– Con sabor a Veracruz-RTV music (2012)
– Tribute to Toña la Negra, a recording that records the V Festival Como Suena la Clave
Clave Festival held in Veracruz, Veracruz, Ver (2013)
– Salsa a la veracruzana, recording of the VI Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz, Veracruz (2015).
Veracruz, Ver (2015)
– Al Son del Covid, record of the VII Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz (2015).
virtual way in December 2020.
Erika Muñoz (La Mulata Rumbera)
Article of Interest: Maestro Jorge Anselmo Barrientos Silva, conductor, arranger and composer
Pedro González
Musician, Instructor, And Pioneer Of Salsa Casino In Venezuela
“If people dedicate themselves to this, it is because we are doing it well.” This nice phrase arose from the pleasant and attractive telephone conversation about the history of the pioneer of Salsa Casino in Venezuela, the charismatic Cuban-Venezuelan musician and instructor Pedro González.
This affable musician and Salsa Casino instructor told us that he carved out his career from a very young age. He was born in Havana (Cuba) in 1966 and began his musical studies at the National School of Arts in the Havana capital at the age of ten, graduating in the specialty of Guitar (Short Course of 8 years) in 1984.
He comes from a musical family, his grandmother was the soprano Rosa “La China” and his mother (teacher and school principal) Zoe Portuondo Suarez, a distant relative of the singer Omara Portuondo.
“…Since I was little I liked to dance, I would dance everywhere. I learned with my cousin… I went to places like Playa… Besides, my mother danced a lot and my grandmother was a singer and she was also linked to the world of art…” Pedro commented.
His first job was as a music teacher in the Pinar del Río city, three hours from Havana. A short time later, he joins the Caranday group, and they play Son Cubano every night at the luxurious Hotel Nacional De Cuba.
After 45 days from his first presentation with the group, they meet the Venezuelan businessman Martín Gutiérrez, who takes them to Venezuela in 1993 to perform at private parties in the Falcón state.
Due to the few opportunities he had in Cuba, he decided to stay in Venezuela and formed the Latino Son band, made up of four Cuban musicians, and in turn began to be members of the Tropicana-style Cuban Fiesta Magazine (Show with a range of musical genres, interaction with guest singers, and dancers) in nightclubs of the Capital.
In Moments of pause with the musical magazine (1997), he undertook a tour with the Latino Son group with whom he traveled for almost all of Venezuela and toured the main stages of large national festivals such as La Feria del Sol (Mérida), Feria de San Sebastián (San Cristóbal), and La Feria de la Chinita (Zulia) among many others.
“We played permanently at La Giralda… At La Giralda we organized a party playing the Cuban Timba, then, there they called us “The Cuban Orchestra” in 1996, 1997, and 1998…”
During the ’90s and already residing in Venezuela, Pedro became the first Salsa Casino instructor in Venezuela without planning it as a life plan, and in 2000 he founded his homonymous academy that has graduated thousands of fans of this style of salsa dance.
Dancing is one thing that keeps you active. That is good for the body. If you have a problem in two hours or an hour and a half dancing you forget it. For my part, I like to teach… And, I like people to have fun.” Pedro González
History And Evolution Of The Academy Dance
One night at the end of the 90s, Pedro along with his friend Milan (Medical and Countryman) began to remember the Dance of the Casino in La Giralda (old venue to listen to live music and enjoy various drinks on the Boulevard de Sábana Grande – Caracas) after his customary presentation with the Latino Son group.
Both began to stand out on the dance floor with the genre of La Timba and for a way of dancing Salsa different from the one practiced in Venezuela. “We began to dance with two Venezuelan girls in the Rueda style (which was not a Rueda because there must be 3 couples)… I began to say Milan “Give me one”, “Plugin”, “The Hat”, and we began to dance the Casino Style”. Pedro “El Cubano” told us between laughs during the interview.
The two ladies were so impressed by that way of dancing that they did not hesitate for a moment to ask Pedro for dance lessons. After so much insistence, “El Cubano” agreed for the first time to give Salsa Casino classes in the capital of Venezuela in an improvised and reduced space with his first five couples. “I am from the Cerro municipality, which is the closest to Old Havana. I used to go to Playa (Municipality of Havana) a lot to dance and I learned many dances and turns…”
And so Salsa Casino began spontaneously in 1999. By the following year (2000), Pedro had 20 couples and a larger room to teach.
The evolution of him in his rise during this year was impressive. Due to the influx of students, he began to teach in the blue auditorium of the Faculty of Economic and Social Sciences (Faces) of the most prestigious University in the country, the Central University of Venezuela (UCV) through Reinaldo Mijares, Director, and choreographer of the contemporary dance “Mudanza” attached to this institution and where González assures that this movement grows.
From there, he gave way to the Casa Monagas club, a place located in the Las Acacias sector (west of Caracas) behind the UCV with the capacity to hold up to 1,000 people. Here, Pedro’s students had more space to rehearse, and Salsa Casino Parties began to be organized monthly.
With this overwhelming success, the creation of the Academia Salsa Casino in Caracas was imminent. It had massive attendance, national impact with graduate students, and attendance at national and international festivals such as Curacao Salsa Tour, Festivals in Cuba, and an amazing show at the Amador Bendayán Theater.
With more than 20 years of teaching Salsa lessons, Pedro has graduated more than 2000 students and changed its name to Academia Pedro González. It currently has five locations: Sábana Grande (main location), Chacaíto, San Antonio de los Altos (Los Teques), Capitolio, and El Cafetal.
The classes are aimed at children and adults. The call is open, so you can sign up without a partner and don’t worry because the essence of the Rueda remains. The estimated graduation time is three years with four basic levels, four intermediate levels, six advanced levels, you will also receive a triple casino level, two dance technique levels, and to complete the process a final choreographic exam is done.
Every dance lesson is fun because of Pedro’s ability to teach. The names of each step such as “Pégale un Cacho” are adapted to the colloquial vocabulary of the Venezuelan so that it is easy and fast to learn.
Due to Covid-19, the Pedro González Academy makes the use of the mask and antibacterial gel an essential requirement for permanence within the institution, as well as reducing the maximum number of couples per level to only ten.
At the main headquarters, there are four instructors. One of them is Vanessa Lovera, a graduate instructor from the academy. For Pedro, she has been unconditional support in difficult moments of the institution. Vanessa teaches Salsa Casino and Ballroom Dance. You can also find her at the El Cafetal headquarters, but if you prefer the main headquarters, the address is as follows: Sábana Grande Boulevard, Fénix building, 5th floor, next to the Gran Café.
For this 2022 and if there is a return to normality, the Cuban instructor and musician residing in Venezuela hopes to resume the lost spaces in Caracas such as discos, nightclubs, presentations in theaters, once again hold large Salsa Casino parties in large rooms, the return of national competitions, and the continuation of the training of instructors in person (it is only online currently).
Casino Dance Or Salsa Casino?
According to the friendly instructor Pedro González, the origin of Salsa Casino on the island of Cuba has a unique story that begins like this…
Since 1956 numerous Cuban orchestras have been registered that played very popular and contagious musical genres such as Cha Cha Cha, Guaracha, Mambo, and Son. Rhythms that invited the young inhabitants of Cuba of this time to just want to dance and have fun all night with these melodies, but they not only wanted to do it with their partners but also with those of their friends, acquaintances, and strangers. However, for this decade that was not allowed because the rules of the strict and conservative society dictated it.
In this way and with the pursuit of that goal, the gentlemen created this style of dance. A style that did not require constant practice and where partners could be exchanged using keywords such as “Plugin” to perform the movement and for the theory to be carried out perfectly without altering society. The place where this event was recorded was Casino Deportivo, a private summer vacation club located in the Miramar residential area in Havana.
“We (in Venezuela) call it Salsa Casino because it is the commercial name already used in the United States. In Europe they call it Salsa Cubana, but the original name is Baile Del Casino”. Pedro Gonzalez
That is why at the end of 1950 this style of dance began to be generated that people internationally associate with the style of gambling performed in a Casino because it is a dance in Rueda.
The popular expression of most people in Cuba every time they saw this peculiar way of dancing was to say “Ah! But you are dancing like the people of the Casino (Casino Deportivo Club)” that each day was shortening the expression until reaching the Baile Del Casino.
The peculiarity of this dance style is that it does not have a musical genre, that is, no melody that identifies it. For example, a Danzón is danced with the music of the Danzón, the same happens with the Cha Cha Cha, Mambo, Son, and Bolero. There is no rhythm called Casino, therefore this style acclaimed in the world and preferred by Cubans began with the music that existed in this glorious decade of the ’50s.
Live music and other news in the SF Bay Area
Renowned timbalero, composer, bandleader and vocalist Mario Solomon is the leader of one of the hottest groups performing modern Cuban Dance music in the US: Mario Y Su Timbeko. Although Mario moved from Oakland to Austin, Texas during the pandemic, he hasn’t stopped his original music from coming out. His latest single “Sola Te Quedaste” follows three singles that he has released during the pandemic: “Llego Lo Que Te Esperabas”, “Lo Mas Grande” and “Nadie Sabe Nada”. These songs are to be released as an EP in the first quarter of this year. Mario Y Su Timbeko consisting of bassist Ayla Davila, guitarist David Lechuga, vocalist and keyboardist Jordan Wilson, pianist and recording producer Jason Moen and conguero Carlitos Medrano will be performing a special concert “Timbeko By The Bay at La Peña Cultural Center, 3105 Shattuck Avenue in Berkeley on Saturday, February 12 starting at 8 pm.
Mario explained that the show is like taking a trip with the history of Cuban Music featuring traditional rhythms of Danzon, Cha Cha Cha, Boleros and Changui which will be the focus of the first set. The second set will feature original music with selections from the new EP. Many Bay Area-Northern California dancers and listeners alike are big fans of Timbeko’s infectious timba sound which contains elements of RnB, Gospel and Funk. Mario hopes to have copies of the EP ready to sell at the dance/concert. There will also be a dance after party with DJ Antonio included in the admission to the show. For more information on the concert, visit lapena.org. For more information on Mario Y Su Timbeko, check out their page on Facebook and Instagram.
Montuno Productions will be presenting a Valentine’s Day Concert as part of their Bay Area Latin Jazz Series at Oakland’s fine art deco California Ballroom located on 1736 Franklin Street. This triple billed show will feature the debut of Cuban jazz vocalist Jessy Diaz accompanied by 4 time Grammy award winner Oscar Hernandez of Spanish Harlem Orchestra, Edgardo Cambon and Candela and ending the show with be the MP All Star Salsa Project directed by pianist Israel “Izzy” Tannenbaum (formerly of Grupo Niche). I will be your Master of Ceremonies and DJ for the entire evening. Cuban food will be available for hungry patrons at the concert/dance. For more ticket information on this dance/concert, you can visit montunoproductions.com
Major cancellations and postponements continue due to the latest Omicron variant of the Coronavirus pandemic. The Victor Manuelle concert/dance scheduled for the Hyatt Regency in Burlingame has been postponed until Saturday, April 9th per show producers JC Coral and Bosco Vega. Cuban born Brother-virtuosos violinist Ilmar and pianist Aldo Lopez-Gavilàn protagonists of the film documentary Los Hermanos/The Brothers cancelled their scheduled January 23rd concert at U.C. Berkeley’s Zellerbach Auditorium. There is no rescheduled date for that show.
On the local club front, Oakland’s own Fresquecito Timba DJ monthly at La Furia Chalaca near Jack London Square produced by DJ Walt Digz was cancelled as well at the beginning of January but the event will be back in February. The Ramp in San Francisco has temporarily suspended their live and DJ music shows per order of the San Francisco Port. The Ramp is hoping to resume their live music dates in March. Other venues such as Space 550 just didn’t reopen in January but will reopen on February 11th with Julio Bravo y Salsabor headlining their Valentine’s Day weekend party. You may want to double check that the venue is still open and that live music is still going to be presented on the night that you are planning to go out.
A scene of many a popular, crowded club night, Lukas on West Grand and Broadway in Oakland the home of Thursday Cuban nights will close at the end of January. Ahi Na Ma, the production company in charge of the popular Cuban dance night featuring DJ’s Leydis and Antonio have announced that their weekly event will move to a new location soon to be announced.
Ex El Gran Combo vocalist Charlie Aponte will be visiting the SF Bay Area on Friday, April 1 at Roccapulco, 3140 Mission St. in San Francisco. Jaffe Events will be presenting the show. Look for Aponte to feature original material from his recordings as well as the many hit songs he recorded with El Gran Combo during his tenure with this great musical institution. It promises to be a smokin’ show!!
The Seahorse in Sausalito continues to buck the trend and continues to present live music on their outdoors patio stage on Saturday and Sunday evenings starting around 5 pm. They are featuring Orquesta Taino Feb 6, Karabali with Karl Perazo of Santana and Michael Spiro Feb 12, Louie Romero & Mazacote Feb 13, Salsa Caliente w/Gary Flores Feb 19, Edgardo Cambon & Candela Feb 20 and Braulio Barrera’s Somos El Son on Feb 27th. KPOO/KPFA DJ Jose Ruiz is the house DJ behind the decks.
Another venue that has stayed open for business in spite of this tough COVID time is the Cigar Bar, 850 Montgomery St. in San Francisco. You can still enjoy good drinks, fine food and a selection of cigars for your enjoyment. They have a full schedule on Fridays and Saturdays for February which includes Somos El Son Feb. 4, N’Rumba Feb. 5, Manteca, Feb. 11, Josh Jones Latin Jazz Ensemble, Feb. 12, La Clave Del Blanco, Feb. 18, Edgardo Cambon y Candela Feb. 19, The Latin Rhythm Boys Feb. 25 and Pacho Y Orquesta Evolution on Feb. 26. Schedule subject to change due to COVID so check their calendar to confirm acts. Visit their website at www.cigarbarandgrill.com
BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM
Venezuela – Guinness Record the largest orchestra in the world
On November 13, 2021, there was a dynamic event in Caracas, Venezuela where 12,000 Venezuelan musicians (from 12 to 70 years old) performed in the courtyard of honor of the Caracas military academy, where they performed Tchaikovsky’s Slavic March conducted by The 34-year-old maestro Andrés Ascanio was such a shocking and glorious event that Saturday the 20th received the Guinness record for “The largest orchestra in the world” … “I can confirm that this attempt has been successful, congratulations, Guinness World Record as the largest orchestra, you are officially amazing, “said the official in charge of giving the verdict on a screen during a ceremony at the headquarters of” El Sistema “, as it is commonly known.
The ambassador of the Russian Federation in Venezuela, Sergey Mélik-Bagdarárov, expressed his greatest appreciation for this achievement: “For me as the Ambassador of Russia it is a great honor to attend this historical event, which previously belonged to Russia and now is its victory. , we share his victory ”.
This time the ensemble of Petare, with the theme Amalia, by Francisco Armando Agen uirre, under the direction of Andrés David Ascanio, made a show of its musical interpretation.
Also, the Simón Bolívar Symphony Orchestra performed Danzón number 2, by Arturo Márquez, also under the direction of Andrés David Ascanio.
In addition, there was a performance by the Alma Llanera Orchestra, which was present with La Fuga con pajarillo, by Aldemaro Romero.
The brand was reached by the System of Children’s and Youth Orchestras of Venezuela, a state program founded in 1975 by the late teacher of teachers José Antonio Abreu that has given thousands of children of popular classes access to music education, by displacing Russia that He had imposed it in 2019 with more than 8,000 musicians.
“It is a feat, not only for the System, but for the country,” said Eduardo Méndez, director of this program made up of one million members throughout the country, to applause.
For Venezuela this is a great triumph, since you have several Guinness awards, including natural beauties such as Angel Falls, the highest waterfall in the world, or the so-called “Catatumbo Lightning”, the site with the highest number of electrical storms. of the planet. There is also the highest cable car in the world, the largest arepa and ham bread, typical Venezuelan foods, and even the five crowns in the Miss World are a record in this country. “El Sistema”, which has been replicated by dozens of countries, is the cradle of emblems such as Gustavo Dudamel, the musical director of the Paris Opera and the Los Angeles Philharmonic, who sent his congratulations through a video posted on social networks .
At the ceremony for the unveiling of the certificate of this new record, there was the Minister of Communication and Information, Freddy Ñáñez, who excitedly indicated that “music is the purest expression of the soul, it is capable of saying everything, of giving everything, thus You will know how difficult it is for me to try to speak in this temple where there are almost all the words, but it is not a speech that I come to give you today, it is something simpler, I come to sing the only word that is not left in any place, the a word that without having the 7 musical notes is also capable of producing symphonies in the soul of human beings ”.