(New York, NY – January 25^th 2025) – The recent season of Malpaso Dance Company at The Joyce Theater showcased the remarkable collaboration of Cuban-born brothers Aldo López-Gavilán (pianist) and Ilmar Gavilán (violinist), whose live musical performance became a remarkable highlight of the production. Their unparalleled virtuosity and emotional depth brought a transformative fusion of music and movement to the stage, captivating audiences and earning critical acclaim for their extraordinary contribution.

Celebrated by critics and audiences alike, the collaboration of Aldo and Ilmar López-Gavilán elevated the company’s dynamic choreography. The New York Times described their presence as “a poignant and powerful addition, transforming the performance into a deeply moving celebration of music and movement.” Similarly, The New Yorker emphasized the significance of their reunion, remarking, “This reunion of Aldo and Ilmar, divided by geography, brought a unique intimacy to the stage, blending their exceptional talents with the energy of Malpaso’s dancers.”

Aldo López-Gavilán’s jazz-infused compositions were also praised, with The Observer calling them “an energetic and soulful foundation that infused the performance with vibrancy.” Meanwhile, BroadwayWorld commended the synergy between the two musicians, noting, “The virtuosic interplay between piano and violin added depth and sophistication to the choreography, showcasing the musicians’ exceptional artistry.”

Highlighting the brothers’ impact, The Joyce Theater stated: “The Gavilán brothers bring their unique blend of technical mastery and shared heritage to the stage, bridging musical genres and enhancing every moment with their profound synergy.”

This landmark collaboration with Malpaso Dance Company underscores the López-Gavilán brothers’ extraordinary ability to seamlessly integrate music and movement, enriching the audience’s experience. Their contributions were instrumental in the season’s success, reinforcing their reputations as world-class musicians who transcend artistic boundaries to create magic on stage.

Havana, October 29^th 2024

Foto by: Lilien Trujillo Vitón

Renowned Cuban pianist and composer Aldo López Gavilán continues to strengthen his deep-rooted collaboration with dance and ballet companies, both in Cuba and internationally. His extensive history of working with celebrated dancers and choreographers has made him a key figure in bridging the worlds of music and dance.

Aldo’s latest project, a world premiere titled “El peso del instante”, is choreographed by acclaimed Swedish choreographer Pontus Lidberg for the prestigious 28th Alicia Alonso International Ballet Festival in Havana. This collaboration promises a stunning visual experience, with Aldo performing live during the opening gala. Lidberg, who selected two of Aldo’s compositions for the piece, brings a unique and compelling dimension to the production.

This is not Aldo’s first time blending his musical genius with dance. He has previously performed with celebrated artists such as Spanish ballerina Tamara Rojo, now Artistic Director of the San Francisco Ballet, and collaborated with renowned Cuban dancer Carlos Acosta in London. His longstanding partnerships with renowned choreographers like Susana Pous also highlight his deep connection to the world of dance.

Aldo’s current collaboration with Pontus Lidberg exemplifies his ongoing commitment to innovation in the performing arts. In addition to “El peso del instante”, he will also perform live for two other world premieres during the festival, including “Ara” by Osnel Delgado, and “Gitanerías”, choreographed by Joaquín de Luz, which will feature performances by ballet icons Viengsay Valdés and Joaquín de Luz.

Aldo’s participation in these prestigious events showcases not only his virtuosity as a musician but also his vital role in contemporary ballet and dance productions worldwide.

Copyright: Graffiti Music Group Ltd.

La Habana – June 21st 2024

Acosta Danza Yunior, the youth subdivision of the renowned Acosta Danza, was founded by the illustrious dancer Carlos Acosta. This emerging company is set to debut the world premiere of “La Casa Rota,” choreographed by Osnel Delgado, with music composed by the talented Aldo López-Gavilán.

The performances, scheduled for June 21, 22, and 23, will showcase a blend of contemporary and traditional Cuban influences. In addition to “La Casa Rota,” the program includes “Nosotros” by Raúl Reinoso and Beatriz García, “Híbrido” by Thais Suárez and Norge Cedeño, and “Fuga” by Susana Pous.

Acosta Danza Yunior comprises dancers recently graduated from the Academy of Acosta Danza, embodying the vigor and creative potential of Cuba’s young professional dancers. Since its inception, the company has embraced a contemporary style influenced by modern Cuban dance, as well as the island’s folkloric and popular dances, while maintaining the technical rigor of classical ballet.

The new troupe aims to harness the energy and innovative spirit of its young dancers, fostering a dynamic and expressive renewal. Its performances integrate the work of choreographers, musicians, designers, stage technicians, and visual artists from both Cuba and abroad, creating a rich and collaborative artistic environment.

For more details and updates on Aldo López-Gavilán’s contributions and the upcoming performances, stay tuned to our website.

About Aldo López-Gavilán

Aldo López-Gavilán is a celebrated Cuban pianist and composer, known for his exceptional musicality and versatility. His compositions often blend classical, jazz, and traditional Cuban elements, making his works uniquely captivating. Stay updated on his latest projects and performances here on Aldo’s official website.

The stage of the colossus of a hundred doors was decorated in celebration of its anniversary with a tribute to one of our great Cuban composers, Ernesto Lecuona.

06/11/2024 – By Frank Padrón

The 140 years of the Teatro Martí, that institution of our cultural life, were recently celebrated in style and in the best way: a unique concert dedicated to the music of Ernesto Lecuona occupied the stage where so many music, theater and dance events, from Cuba and other countries, have adorned during all that time.

The pianist and composer Aldo López Gavilán gathered valuable colleagues around him, starting with his father, maestro Guido López Gavilán in front of the Camerata Música Eterna, which he founded and directs.

We must not insist too much on the importance of Lecuona in the field of music, not only Cuban but also far beyond; Suffice it to say that he is perhaps the most universal of our creators in the pentagram, and of this in terms of cinema, opera, theater, dance…

Lecuona is appreciated above all for his contributions to the piano melodicism of the 20th century, for his incursions into the main African and Spanish roots of our identity through songs, instrumentals and more complex genres such as zarzuela or film soundtracks, which add up to more than 850 scores, where the Caribbean also beats, but all with such a Creole stamp that it is impossible not to identify the island essence in its skits, dances, creoles, whims or boleros, no matter how much they were wrapped in foreign forms and rhythms.

The multiple facets of someone who is undoubtedly one of the essentials, were recreated with enjoyment and breadth by Aldo and his guests in the concert we are reviewing. With the admirable energy and fingering that he communicates to the keys, the concert artist shone alone in La mulata , in the medley on several of the author’s songs, or in Gitaner í as , where he breathed jazzy accents, lucky glissandos and creative improvisations, as well as the pieces of Afro-Cuban and Hispanic matrix.

Together with the cohesive ensemble led by his father, other expressions were sounded that are defined by their titles, such as Danza lucum í or Conga de midnight , which knew how to exploit and transmit the rich rhythmic arsenal impregnated in them by Lecuona.

The singable came in the well-pitched voices of the soprano Samantha Correa or the tenor Iré Daniel Jiménez, alone or united in that wonder that is Always in my heart .

There was an opportunity for a more popular side with Annys Batista and the sonero William Borrego, who also sang a duet, amid more contemporary arrangements that demonstrated the validity and closeness of the musician.

The final moments of union between pianist and orchestra raised the temperature with true classics of the Lecuón repertoire, such as Malague ñ a -with the brilliant performance of the dancer Analía Feal Benavides, from the Spanish Ballet of Cuba- and La Comparsa .

It is worth highlighting the participation of virtuoso musicians in specific moments of certain works, which enriched their projection: the clarinetist Alejandro Calzadilla; Alejandro Águila and Jesús Estrada on percussion.

Both the lighting design that generated chromatic atmospheres of great expressiveness and beauty, and the effectiveness of the audiovisual complement (photos and scenes of the maestro in various stages of his life) also contributed to the success of this concert in which we all raised an imaginary glass to the health of the important coliseum that celebrated another year of life, and of whom also reaffirmed through the summoned musicians its immovable place in the spiritual magma of the nation: Ernesto Lecuona.

Photos: Adrián Juan Espinosa

Recording of performances will be Phil’s first commercial release

By Peter Alexander Jan. 4 at 7:40 p.m.

The Boulder Philharmonic welcomes two guest artists from Caribbean islands for their concert Sunday (4 p.m. Jan. 7, Macky Auditorium)‚ composer/pianist Aldo López-Gavilán from Cuba and clarinetist Ricardo Morales from Puerto Rico.

Morales will play the world premiere of the Clarinet Concerto by López-Gavilán, who will also reprise his Emporium for piano and orchestra, which he played with the Phil in 2019. Completing the program will be Mussorgsky’s Pictures at an Exhibition in the familiar Ravel orchestration.

And in a first for the orchestra, portions of the program—the pieces by López-Gavilán—will be recorded for commercial release on the Reference Recordings label. Both the dress rehearsal and the performance will be recorded, with a make-up session afterward to patch any problems in the live recordings.

The full recording will feature both the Clarinet Concerto and Emporium, and additional solo performances by López-Gavilán. Conductor Michael Butterman says that “early fall of 2024 would be a likely target date” for the recording to be released.

Butterman first encountered López-Gavilán’s music when he heard a performance of Emporium on the NPR program “Performance Today.” That show has been one of his favorite sources for music he might not otherwise hear. “If it were not for that radio program, I don’t know what I would ever conduct,” he says, laughing.

“In 2018 I heard this amazingly interesting (music). It was one of those moments where you get to where you’re going and well, ‘I’m not going in now because I have to figure out what this is!’” Once he learned the title and the composer, he contacted López-Gavilán’s US management and arranged for him to play Emporium with the Phil the very next season.

That performance was so successful that Butterman started thinking of other ways to promote López-Gavilán’s music. “As soon as we had that success in 2019, the then-executive director and I got together and said, ‘this is a piece that really deserves to be heard.’ (I asked) could we figure out a way to record it with him?

“I knew that he had been writing a clarinet concerto, for his cousin in Cuba, and so the idea of putting them together has been in my mind for at least three years now. And I’m glad that we’re finally able to do it!”

López-Gavilán brings an interesting mix of jazz and classical background to his music. The son of a conductor and pianist, he grew up surrounded by classical music, but he also was drawn to the Afro-Cuban jazz he heard in his homeland. He performs in both realms.

He began Emporium as a gift for his twin daughters. “The whole thing is based on a theme that I dedicated to my daughters for their birthday, when they were nine,” he wrote in program notes. “I improvised this theme in the middle of the night, just to give them a surprise. Later, I started to play what would be the first movement with my jazz trio.

“Later on, I decided to orchestrate it [as a concerto], because I was invited . . . to perform at Classical Tahoe. You find that main theme from the first movement throughout the entire work, but with variations.”

Butterman says that the title Emporium evokes “a retail establishment with little bit of everything. I think Aldo’s use of that title reflects  that he is drawing on all sorts of influences in his musical life—classical music, Afro-Cuban jazz, more traditional jazz, and so on. It has a great deal of organic unity, however. He has a theme that he presents near the beginning that is used throughout, and so while it is eclectic, it’s not without a binding thread.”

The Clarinet Concerto is written for a chamber orchestra, rather than the full Romantic orchestra of Emporium: single winds, horn and trumpet, plus fairly extensive percussion. As Butterman describes the style, “the outer movements are rhythmically complex, and it gets jazzy. The second movement is more lyrical and starts slowly but gets quicker.

“There’s lots of opportunities for the clarinetist to do pitch-bending [and] the sorts of jazz-derived inflections that you might expect in a concerto by somebody that has so much jazz background. It feels very Latin, very Cuban, especially the last movement.”

The soloist, Ricardo Morales is from a neighboring island to Cuba, Puerto Rico, but Butterman says that’s not why he is the guest for this concert. “He’s perhaps that best clarinetist in the world right now,” he says. “And he’s a charming guy, too!”

Mussorgsky’s Pictures at an Exhibition hardly needs an introduction to classical music audiences. It was written in 1874 as a piano piece to honor the artist and designer Viktor Hartmann, a friend of Mussorgsky who had died suddenly at the age of 39. Each movement was inspired by a painting by Hartmann included in a memorial show of his works. Later the highly virtuosic piano score was arranged for orchestra by Maurice Ravel, creating one of the most colorful and popular pieces in the symphonic repertoire.

# # # # #

“Vignettes and Promenades”
Boulder Philharmonic Orchestra, Michael Butterman, conductor
With Aldo López-Gavilán, piano, and Ricardo Morales, clarinet

• López-Gavilán: Clarinet Concerto (world premiere)
  —Emporium
• Mussorgsky: Pictures at an Exhibition, arr. Ravel

4 p.m. Sunday, Jan. 7
Macky Auditorium
TICKETS

Graffiti News / Published: November 6^th, 2023.

Milwaukee, WI — The city of Milwaukee was treated to a musical extravaganza as Cuban pianist and composer Aldo López-Gavilán graced the stage alongside the renowned Milwaukee Symphony Orchestra (MSO). The two collaborative performances, held at the historic venue last November 3^rd and 4^th, left the audience in awe and reaffirmed the power of music to transcend borders and cultures.

Aldo López-Gavilán: A Cuban Virtuoso

Aldo López-Gavilán is no stranger to the world stage, having earned international acclaim for his exceptional piano skills and innovative compositions. Born and raised in Havana, Cuba, López-Gavilán hails from a family deeply immersed in music, and his upbringing infused his artistry with a rich blend of Cuban rhythms, classical training, and jazz improvisation.

A Musical Fusion Like No Other

In the program of this concert, Aldo López-Gavilán took the stage to perform his own composition, “Emporium,” a piano concerto that draws inspiration from the worlds of jazz and Cuban culture. Meanwhile, the Milwaukee Symphony Chorus, led by Music Director Ken-David Masur, joined forces with the Milwaukee Symphony Orchestra (MSO) for a vibrant rendition of Beethoven’s Choral Fantasy. This magnificent work featured echoes of the famous “Ode to Joy” and provided moments for both the chorus and the solo piano, expertly played by López-Gavilán, to shine. During these moments, López-Gavilán’s piano mastery commanded the spotlight as his fingers gracefully danced across the keys, leaving the audience enraptured by the intricate melodies and delightful improvisations.

The concert also included the overture to Beethoven’s only opera, Fidelio, as well as his cantata “Calm Sea and Prosperous Voyage,” which gives voice to two nautical poems by Goethe – “Already I see land!”

Enthusiastic Audience Reception

The concert drew a diverse and enthusiastic crowd, reflecting the universal appeal of López-Gavilán’s music. Attendees were clearly moved by the power of Emporium’s contagious and powerful melody had the concert hall echoed with thunderous applause. It was evident that the performance struck a chord with this audience, as the fusion of Cuban and classical music resonated deeply with both seasoned classical music enthusiasts and newcomers alike.

Aldo López-Gavilán’s Musical Vision

Aldo López-Gavilán’s collaboration with the Milwaukee Symphony Orchestra is a testament to the power of music to bridge cultural divides and create a shared, transcendent experience. His ability to seamlessly blend genres and showcase the beauty of both Cuban and classical music is a testament to his virtuosity as a musician and composer.

Looking Ahead

As the final notes of the concert filled the air, the standing ovation that followed was a clear indication of the audience’s appreciation for the extraordinary talent of Aldo López-Gavilán and the exceptional musicianship of the Milwaukee Symphony Orchestra. This musical partnership serves as a reminder of the magic that happens when diverse musical traditions come together in harmony.

The Milwaukee Symphony Orchestra’s collaboration with Aldo López-Gavilán will undoubtedly be remembered as a highlight of the city’s cultural calendar. As music lovers eagerly anticipate future performances, the echoes of this remarkable evening will continue to resonate, serving as a testament to the enduring power of music to inspire, unite, and elevate the human spirit.

Symphony of Northwest Arkansas (SoNA) Season Unveils Exciting Premieres and Timeless Classics

Prepare to be enchanted as the Symphony of Northwest Arkansas (SoNA) embarks on an extraordinary musical journey with its 2023-24 MainStage Season. Showcasing a blend of premieres and timeless classics, this season promises to captivate audiences and elevate the cultural landscape of the region.

Kicking off the season on September 23rd at 7:30 p.m., the orchestra will be under the masterful baton of Music Director Paul Haas. The evening’s program opens with the spirited rhythm of Leonard Bernstein’s iconic “Symphonic Dances from West Side Story.” The rich tapestry of melodies will take the audience on a compelling exploration of the human experience, showcasing the orchestra’s exceptional range and versatility.

Continuing the journey, Sergei Rachmaninoff’s Symphony No. 2 will envelop listeners in lush harmonies and soaring melodies. Haas’s interpretation will breathe new life into this Romantic masterpiece, offering a profound connection between the music and the hearts of the audience.

However, the highlights of the season do not stop there. An event of unprecedented significance awaits on January 20th, 7:30 p.m., at Baum Walker Hall in Fayetteville’s Walton Arts Center. Pianist Lara Downes, a luminary in the world of classical music, will take center stage as the soloist for SoNA’s first-ever commissioned piano concerto.

Aldo López-Gavilán’s “Oceans to Cross” is a musical tapestry specially woven for Downes, and it will receive its world premiere during this breathtaking performance. This momentous occasion marks the convergence of artistic brilliance, as the synergy between composer and soloist unfolds through intricate melodies and masterful piano techniques.

The evening’s program gains further depth with Samuel Barber’s Symphony No. 1, a monumental work that showcases Barber’s prowess as a symphonist. The symphony’s emotional depth and melodic richness will resonate deeply with the audience, solidifying its place as an integral part of this remarkable performance.

Additionally, the “Negro Folk Symphony” by William Dawson adds a distinctive layer to the concert’s narrative. This symphony masterfully weaves together elements of African American musical heritage, creating a soundscape that celebrates cultural diversity and unity.

Under the guiding hand of Paul Haas, the Symphony of Northwest Arkansas continues to push the boundaries of artistic expression while honoring the traditions that have shaped the world of classical music. The 2023-24 MainStage Season promises to be a transformative experience, inviting audiences to immerse themselves in the power of music’s language and connect with the emotions it evokes.

As the orchestra prepares to enthrall music enthusiasts and newcomers alike, make sure to secure your tickets early and be part of these unforgettable musical moments. The Symphony of Northwest Arkansas is poised to redefine the cultural landscape of the region and inspire generations to come.

Tickets for the event can be purchased at:
https://www.sonamusic.org/ticketed-performances/the-great-unknown-2024

The Marti Theater in Havana will proudly showcase an extraordinary musical spectacle next Sunday, May 28th. Prepare to be captivated as the timeless melodies of renowned composers such as John Williams, Hans Zimmer, Alan Anthony Silvestri, Alexandre Desplat, and more, fill the air. These masterpieces have left an indelible mark on the cinematic world, gracing the soundtracks of numerous beloved films.

Under the masterful direction of Daiana Garcia, the essence of classical music will intertwine seamlessly with the projection of enchanting film excerpts. Witness a harmonious fusion of sight and sound that will transport you to captivating cinematic realms.

Joining this exceptional ensemble, the virtuosic pianist Aldo Lopez-Gavilan, the accomplished clarinetist Alejandro Calzadilla, and the talented wind instrumentalists from the National Symphony Orchestra will grace the stage. Adding to the grandeur, the esteemed Entrevoces Choir, under the guidance of Maestra Digna Guerra, will lend their angelic voices to this extraordinary performance.

Enhancing the musical production and orchestrations, the Havana Chamber Orchestra proudly collaborates with the distinguished composer, pianist, and arranger, Jose Victor “Pepe” Gavilondo. Together, they will weave a tapestry of melodies that will leave you spellbound.

Be prepared for an unforgettable evening of musical brilliance, where the Marti Theater will come alive with the symphonic prowess of these remarkable artists.

JULY 11, 2022
by Stephen Martorella

The Gavilán Brothers, violinist Ilmar with pianist and composer Aldo-López led a fascinating musical odyssey. PBS has just released a film about the brothers called Hermanos (Brothers) who were separated for decades because of the political situation in Cuba and only recently reunited to perform and record together for the first time, arrived in the Breakers on Saturday.

Aldo opened with a World Premiere. Newport commissioned American composer Shawn e. Okpebholo for a piece that reflected some of the history surrounding historic Rhode Island, and that would speak to our time. The result, Okpebholo’s Crooked Shanks, develops a tune of the same name composed in the mid 1700’s by a former slave, Newport Gardner, who resided in Newport. Gardner was born Occramer Marycoo, possibly from Sierra Leone, and at age 14 transported and sold as a slave to Newport ship captain Caleb Gardner, who gave the young Occramer the name Newport, and legally adapted the family name as his own. Gardner was trained in English, French, and music. He purchased his freedom in 1791 and obtain a home in Newport, where he became a music instructor. He composed several tunes, of which Crooked Shanks appeared in books of English dancing-tunes as early as 1768. For more on Newport Gardner click here.

Okpebholo’s free adaptation of Gardner’s tune produced a tone-poem of immense beauty infused with Afro-Cuban flavorings. It was written specifically for Aldo López Gavilán, who performed it with sensitivity and dynamic energy. The Crooked Shanks tune was not easily identified, as its original conception as a dancing tune in 6/8 time was never present. Only the notes of the theme were hinted at, gradually rising out of an impressionistic mist, perhaps reminiscent of a heavy fog out at sea, gradually emerging in the dawn. After a long dramatic pause, the second section began with a primal, rhythmic coursing, evoking in spirit something like Bartok’s Allegro Barbaro but using Afro-American and Cuban infused rhythms, some associated with ‘rag-time’ music, and building in speed and intensity. Some of the phrases took on an improvisatory character, while others became more and more chromatic, until all settled back into the dreamy mists of the opening.

Aldo’s compositions performed by his brother Ilmar on violin and himself on piano formed the balance of the concert. Many of the romantic and nostalgic,  themes recalled bygone and heady days of Havana, at times the writing becoming expansive and sweeping, at other times energetic and virtuosic, infused with the timeless rhythms of African inspired Cuban dances and folk music. Aldo is completely at home in both jazz and classical idioms, and a skilled jazz improviser with an impressive technique, all of which fused into the compositions, while Ilmar’s soaring violin rose above the fray with memorable melodies, and at times the brothers executed very rapid passages in unison with exacting precision.

A few songs deserve special mention, Caipiriñame brought us not only the rhythm of Cuba but also of Brazil and the Bossa Nova, with an extended and brilliant piano solo, while Eclypse was an intimate slow jazz ballade incorporating improvisatory elements interwoven within its poignant themes, an expression of the separation the brothers had to endure for a significant part of their lives. Related to that was the song Hermanos, which is also the title of the PBS film about the brothers and the title of their debut album as a duet. Ilmar described this piece as “intimate and soulful.”

Quick Tune contained rhumba rhythms underlying virtuosic violin writing and an exciting toccata-like piano solo, culminating in a unison tour de force finish. This earned one of many standing ovations the brothers received throughout the evening. Several of the works told stories. Momo’s Tale was inspired by a little girl who brought stolen time back, from a children’s novel by German writer Michael Ende, while Viernes de Cuidad depicted a day in London, starting in a Middle Eastern district at dawn, with themes and sounds reflecting the sounds of Persian instruments, which included strumming the fingers across the bass strings with an open pedal to create the sound of a santur (the Middle Eastern equivalent of the hammered dulcimer). Suddenly we find us at midday dancing in the streets of an Irish quarter, and the day concludes with all the bustle of a cosmopolitan city, ending in the pubs of London to the sounds of tunes recalling the Beatles.

The closer, Pan con Timba (Bread with Whatever), offes a humorous look at Cuba today, with remembrances of Old Havana and the unique, complex, and iconic rhythm of Cuban son and salsa music called tumbao. All combined to create an evening of unforgettable memories and melodies.

Original Article appears on:

Gavilán Brothers Gallivant