Earlier this year, arranger and conductor Charles Cozens became the first Canadian to conduct an orchestra in post-revolutionary Cuba. Here are his reflections on a memorable journey:
My recent trip to Santa Clara, in central Cuba, to conduct the Villa Clara Symphony Orchestra proved to be a joyful experience musically. It was also one filled with admiration for the musicians and general population.
I arrived in Santa Clara on March 31, Easter Sunday, in time to start rehearsals for the next 10 days, with our concert date set for April 10.
This was the first time I had ever rehearsed an orchestral program for more than a few days. Certainly the cost of rehearsing an orchestra for that length of time in Canada or the United States is heavy and virtually impossible. But in Cuba, long rehearsal periods are the norm.
Our program of orchestral dance music was compelling and challenging, with works by Chabrier, Bizet, Borodin, Piazzolla and myself. During the first rehearsal, it became clear to me that this orchestra was not as disciplined as ours here in Canada.
Although the orchestra is a professional ensemble — many of whose members are recent graduates of the Instituto Superior de Arte in Havana — the players liked to chatter when I was offering music direction and did not always pay attention. I dealt with this quickly and effectively through my translator and subsequent rehearsals went very well.
I could feel their trust grow as I led them through some complex musical challenges, and see their excitement increasing at every rehearsal. The result was an excellent performance, which featured four fine soloists who acquitted themselves wonderfully and an orchestra that was proud of its substantial accomplishment.
Our concert was performed at Culture House in downtown Santa Clara, with a sit-down audience of 250, a stand-up audience of 200 and about 1,800 or so persons sitting outside in the beautiful Park Vidal listening. Also in attendance were the Canadian ambassador to Cuba, Matthew Levin and his staff, the Cuban minister of culture and tourism, my wife and several friends from Canada.
The Cuban media were very enthusiastic about this concert. It was well covered through several newspaper articles and media interviews on Cuban National Radio and Television. We received many accolades and an excellent review of the performance. The Canadian media have also been supportive of this trail-blazing venture.
The Canadian Embassy in Havana and Cuba’s Ministry of Culture and Tourism were also excited about this project, not only for the music, but also because I became the first Canadian orchestral conductor ever invited to Cuba to conduct.
If I had one word to describe the entire experience, it would be “revelation” — a revelation about a people who have so little in personal possessions and yet so much to give; a revelation about the musicians, many of whom play on poor quality instruments and yet make them sing; a revelation of kinship and love, which was demonstrated to me at the first orchestral rehearsal — the players were entering the building, embracing each other with hugs, kisses and big smiles. They warmly shared their hugs with me as well.
I cannot forget the little old lady of about 85 who talked with me in Park Vidal and asked me for some money for a new pair of shoes. Clearly, it was difficult for her to walk. I helped her buy those new shoes. I met her once again sitting in Park Vidal after the concert. She came over to me and gave me a hug with a smile on her face that spoke volumes.
And finally, a revelation that perhaps some things may be better in Cuba than in our vast and complex economy. Our great North American orchestras are facing their share of problems of financial support and stability. Think recently of the Philadelphia, Detroit, Minneapolis and Atlanta orchestras in the U.S., and in the past, Calgary, Toronto and Vancouver here at home.
It was explained to me that the orchestras in Cuba have no such worries as they are completely supported by their government as are many other arts and cultural organizations.
Certainly the root for support and preservation of our art and culture must come from mandates of our government. Who else to set the example? Do we need a lesson from a culture in which the people are poor financially but rich in heritage and art?
As I reflected on all of this on Canada Day 2013, I resolved to myself not to take for granted all that we have in our wonderful country but to respect what we have; there are many others who have so little.
My spirit has been enriched.
Charles Cozens
You can find out more about Charles Cozens here.