March 7th, 2026

Ricardo Morales (clarinet), Aldo López-Gavilán (piano), Jubal Fulks (guest concertmaster), Boulder Philharmonic Orchestra, Michael Butterman (conductor)

Live recording: Mackey Auditorium Concert Hall, Boulder, Colorado (January 6‑7, 2024) (World Premiere Recording) – 70’32

SACD Hybrid Reference Recordings RR-154SACD – Booklet in English

Be prepared to experience something novel, something rejuvenating, something otherworldly!

Enter the musical genius of Cuban-born Aldo López‑Gavilán whose mixture of classical and jazz persuasions will electrify the listener from the get go. His innate sense of musical fusion emanates from his parents (his father, composer/conductor and his mother, pianist/teacher) as well as his renowned grandfather, the legendary Cuban clarinetist Juan Jorge Junco. One of the strongest assets the composer brings to the table is his sense of improvisational skills. The result is a mélange of stunningly beautiful creations which stimulate the soul, both physically and emotionally.

Back in 2017, Aldo López-Gavilán wrote and premiered his first piano concerto, namely Emporium which graces and introduces this vibrant CD. Aptly named since it was the composer’s objective to “unify the world”. This idée is particularly important to the composer due to his exposure and musical training and performances outside his native Caribbean island. He’s strongly attuned to the capriciously disparate dialogues bantered about between his native Cuba and that of The United States. Invested in a myriad of musical impressions entrées with a perky Baroque-edge during the measures of the “Allegretto spiritoso”. Distant sounds of David Foster and snippets of Marvin Hamlisch bleed to the surface in the opening minutes, yet the design is distinctly pinned to M. López‑Gavilán. Luscious legato and pulsating crescendos re‑emphasize the electrifying designs of the music, well‑heeled in percussive strengths by chimes, snare drum and vibraphone. “Balance” and “structure” prevail with agreeability, akin to the sonata form.

Bracketed in the middle, the unfettered “Liberamente” ushers in an immediacy of tranquility and shamanistic guidance, faintly aligned to Grofé’s “Sunrise” from the Grand Canyon Suite. The tone pensively reveals M. López‑Gavilán’s pensive conversation set alongside the Boulder Philharmonic Orchestra’s strings enclaves. The piece reaches into hymnic thoughts, a preamble to the pianist’s tremolo arguments, especially when strengthened by the vibraphone harmonic structures. Where the Cuban’s virtuosic training becomes fully unveiled is in the closing “Presto” with extremely difficult and technical artistry. What particularly broadens the piano’s effects are through the other percussive instruments, particularly the chimes. The conclusive bars of Emporium strongly reach into Rachmaninoff sophistication. A dizzying delight.

The ensuing Concerto for Clarinet and Orchestra has strong reminiscences to the composer’s late grandfather, the great Juan Jorge Junco. Paying respectful homage, the opening “Adagio” has a strong, plaintive Copeland quality: somber, reflective, sensitive…searching. Ricardo Morales’ edgy clarinet enclaves remark upon Leonard Bernstein, yet the flair is independently jazzy: both spicy and fruity. The middle portion turns into a quasi tête-à-tête with tutti orchestra. While the “Ballad” forwards in agreeable benevolence, the closing “Allegro” is contrastingly entrenched with a semi‑strident whimsical lining: novel and uncanny, on line with Gershwin with spots of Bernstein, again. M. Morales has some “funtastic” remarks, fluidly moving about on his “licorice stick” with an appetite to appeal to the full‑on inventions of Aldo López‑Gavilán. A spirited musical confluence.

The “power of thought” is, perhaps, the most impressive as one listens to Aldo López‑Gavilán’s solo piano triptych œuvre, Hechizos (literally translated “spells”). This composition is truly mesmerizing. “Mariposas Nocturnas” (“Nocturnal Butterflies”) emphasizes the beauty of these winged‑insects with two‑handed magic: the left hand stoically is grounded in ostinato which sharply contrasts to the “flickering” embellishments placed upon the right hand. M. López‑Gavilán shapes the hypnotic “Hipnosis” with steady, distant oscillations. Deep down we’re subjected to sensations of beauty and ambiguous uncertainty. This segues to the rather sinister ambitions found inside “Conjuros” with its rather devilishly waltz‑like impish arguments which thinly remark upon pockets of Maurice Ravel. This composition’s spell‑binding dynamics are strongly founded and pronounced. One will be funneled into a siphon of mystic bewitchment. Penetratingly trance‑like with an intoxicating and distant appeal.

A “magnet of musical invention” strongly yields to Aldo López‑Gavilán. “Emporium” demonstrates a grand assembly of thought, distinctive in the process with a need to permit “open-mindedness and allowable space”. A fascinating and well‑executed lesson.

Buy or Listen to the album here

L-R: Ilmar Gavilán, Aldo López-Gavilán, Melissa White, Jaime Amador, and Felix Umansky in performance at Emerson Hall, Schwartz Center for Performing Arts, September 26, 2025. (courtesy of SCPA)

Mark Gresham | 26 SEP 2025

On Friday night, the Harlem Quartet (violinists Ilmar Gavilán and Melissa White, violist Jaime Amador, and cellist Felix Umansky) were joined by Cuban pianist-composer Aldo López-Gavilán for a program that blended Romantic chamber music, contemporary Cuban works, and jazz at the Schwartz Center for Performing Arts’ Emerson Hall.

The evening opened with Robert Schumann’s Piano Quintet in E-flat Major, Op. 44. Schumann’s quintet—one of the cornerstones of the chamber repertoire—was given a reading that infused the familiar work with new vitality. In particular, the “Allegro brillante” moved with brisk energy, and felt fresh for such an oft-performed work. The “Adagio espressivo” unfolded nicely in long, lyrical lines. The Scherzo was appropriately fleet, and the Finale combined playful motifs with virtuosic flourishes.

After intermission came music that was not so familiar: four of López-Gavilán’s own compositions, Epilogo, Viernes de Ciudad, Eclypse, and Pan con Timba, highlighting the fusion of classical form, Cuban rhythms, and jazz-inflected harmonies that characterizes his work.

A classically trained pianist who moves fluidly between genres, López-Gavilán writes music that combines the structural rigor of chamber music with Afro-Cuban dance rhythms and jazz improvisation. The Harlem Quartet—formed in 2006 and known for bridging classical and jazz traditions—has made a specialty of performing and recording with López-Gavilán, whose brother, Ilmar Gavilán, is the quartet’s first violinist.

Epílogo opened the set with a dreamlike lyrical theme flowing across shifting harmonies. Originally written for piano, clarinet, and orchestra, this version for piano quintet is one of the pieces on the Harlem Quartet’s 2024 album Havana Meets Harlem. Its canon-like passages and layered rhythmic textures created a sense of reflective introspection, bridging classical sensibility with Cuban and jazz elements.

Viernes de Ciudad followed, a musical portrait of urban life that moves from dawn to late-night energy. The work evokes the rhythms and atmospheres of diverse neighborhoods, unfolding through evolving moods, contrapuntal textures, and gradual crescendos. The quartet and pianist captured the sense of journey embedded in the music, highlighting López-Gavilán’s interest in connecting daily life and cultural diversity to sound.

Eclypse (or Eclipse) offered a more intimate counterpoint. Originally composed for violin and piano, with López-Gavilán’s brother, Ilmar, in mind, the lyrical interplay between piano and strings conveyed a quiet intensity and emotional nuance, exploring themes of longing and separation.

The set concluded with Pan con Timba, a jubilant work rooted in Afro-Cuban dance rhythms. Its title—“bread with timba”—reflects the composer’s blending of the everyday with exuberant, percussive musical energy. The quartet and López-Gavilán delivered the piece with infectious rhythm and buoyant humor, leaving the audience with a palpable sense of celebration.

To close the concert, the ensemble performed its own arrangement of Billy Strayhorn’s Take the A Train. The familiar jazz standard, which was the signature tune of the Duke Ellington orchestra, drew warm applause and closed the evening on an upbeat note. ■

L-R: Melissa White, Ilmar Gavilán, Aldo López-Gavilán, Felix Umansky, and Jaime Amador take a post-concert bow at Emerson Hall, Schwartz Center for Performing Arts, September 26, 2025. (crecit: Bill Head)

Havana, Cuba — September 17 2025 – Internationally acclaimed Cuban pianist and composer Aldo López-Gavilán has been nominated for a Latin Grammy Award for his album Havana Meets Harlem, recorded with the two-time Grammy Award–winning Harlem Quartet. The album is recognized in the category Best Instrumental Album at the 2025 Latin Grammy Awards.

Released in August 2024, Havana Meets Harlem is a landmark recording that unites the brilliance of López-Gavilán’s compositions with the expressive power of Harlem Quartet. Every track on the album was composed by Aldo López-Gavilán, showcasing his distinctive voice as a composer who blends classical structures, Afro-Cuban rhythms, and the freedom of jazz improvisation.

The works featured on the album include Pan Con Timba, Epilogo, Aegean Dream, Eclipse, Talking to the Universe, and Viernes de Ciudad—pieces that highlight Aldo’s versatility as a composer and the Quartet’s virtuosity as interpreters.

“This nomination is not only a personal honor—it is a recognition of collaboration, family, and cultural exchange,” said Aldo López-Gavilán. “Working with Harlem Quartet, and especially with my brother Ilmar on violin, has been an artistic journey that celebrates both Cuban heritage and the universality of music.”

Harlem Quartet, known for expanding the boundaries of classical repertoire, brings its trademark energy and diversity to the project. Together with López-Gavilán, the ensemble creates a fresh soundscape that bridges traditions, redefining what chamber music can be in the 21st century.

The Latin Grammy nomination highlights the international impact of Havana Meets Harlem and reinforces López-Gavilán’s reputation as one of Cuba’s most original and compelling musical voices.

The winners of the 2025 Latin Grammy Awards will be announced later this year.

https://pitchfork.com/news/latin-grammy-nominations-2025-see-the-full-list-here

On Saturday, June 28, at 7 pm, Havana’s Sala Covarrubias at the National Theatre will host “Encuentro de Generaciones” — a vibrant jazz concert led by acclaimed pianist and composer Aldo López‑Gavilán, alongside the Jazz Band from the Amadeo Roldán Conservatory and Cuban jazz luminaries.

A Fusion of Talent

López‑Gavilán shared with ACN that this ensemble—formed by students under Maestro Jorge Sergio Ramírez—will serve as “the starting point for sharing the passion for the genre and the styles of each guest artist.” Regardless of age, their virtuosity will weave the evening’s narrative.

A Rich, Genre‑Blending Repertoire

The program is devoted exclusively to López‑Gavilán’s original compositions, arranged by the composer himself. The concert promises a powerful fusion of jazz, classical music, and Cuban rhythms, delivered with exceptional skill, heartfelt expression, and a distinct sonic identity.

Featuring Cuban Jazz Icons

Joining the spotlight are several distinguished soloists:

• Alejandro “Coqui” Calzadilla – clarinet

• Alejandro Delgado – trumpet and improvisation

• Ruly Herrera – drums

• Ruy López‑Nussa – percussion maestro

• Orlando “Maraca” Valle – flute

• César López – saxophone

Their presence enriches the evening’s soundscape, showcasing the dynamic synergy of emerging talents and seasoned performers.

Celebrating Dialogue & Continuity

This concert isn’t just a performance—it’s a celebration of musical dialogue. Attendees will witness how youthful energy and mature artistry unite through improvisation, craftsmanship, and jazz’s core values. López‑Gavilán emphasizes that the event honours continuity and the convergence of generations, inviting jazz fans to experience its virtuosic essence live.

Havana, June 3, 2025

Renowned Cuban pianist and composer Aldo López-Gavilán continues to build his international career as a versatile creator and interdisciplinary collaborator, this time contributing to the world of contemporary dance. His latest original composition, written expressly for the world premiere of Favorite Son, will be featured at the prestigious Festival Napa Valley 2025 during its highly anticipated Dance Gala.

Under the artistic direction of Adrian Blake Mitchell, the event brings together some of today’s most captivating dance artists, including Tiler Peck, Roman Mejia, Sasha De Sola, Joe Walsh, and Fabrice Calmels, in an evening celebrating both masterworks and bold new creations.

The premiere of Favorite Son, with original music by López-Gavilán, was conceived as an exclusive piece for the talented Cuban triplets Marcos, César, and Ángel Ramírez, who will bring Mitchell’s choreography to life in a performance rich in emotional and artistic depth. Aldo’s score adds a lyrical and rhythmically charged dimension to the piece, which explores identity, heritage, and brotherhood through movement.

The gala program also includes classics such as Jerome Robbins’ Other Dances, a lyrical tribute to the music of Chopin, and Gerald Arpino’s Light Rain, an iconic Joffrey Ballet work pulsing with energy. Acclaimed dancer Constance Stamatiou of the Alvin Ailey American Dance Theater will perform an excerpt from Cry, in honor of the legendary Judith Jamison.

This new project reaffirms Aldo López-Gavilán’s commitment to art as a universal language and highlights his growing presence on international stages where music, dance, and emotion converge with a contemporary vision.

La Habana, Junio 3, 2025

Aldo López-Gavilán en concierto junto a la Jazz Band del Conservatorio Amadeo Roldán

La Sala Covarrubias del Teatro Nacional será el escenario de una velada única dedicada al jazz cubano el próximo 28 de junio a las 7:00 p.m.

El reconocido pianista y compositor cubano Aldo López-Gavilán ofrecerá un concierto especial acompañado por la Jazz Band del Conservatorio Amadeo Roldán, bajo la dirección del maestro Jorge Sergio Ramírez.

El programa estará dedicado íntegramente a obras originales de López-Gavilán, con arreglos del propio compositor. Sus piezas se distinguen por una poderosa fusión de jazz, música clásica y ritmos cubanos, interpretadas con virtuosismo, emoción y una sonoridad inconfundible.

La velada contará con la participación de destacados solistas invitados, todos ellos figuras imprescindibles del panorama jazzístico cubano:

• Coqui Calzadilla, clarinete

• Alejandro Delgado, trompeta

• Ruly Herrera, batería

• Ruy López-Nussa, maestro de la percusión y figura emblemática del jazz en Cuba

• Orlando “Maraca” Valle, uno de los flautistas más brillantes y carismáticos de la música cubana

• César López, saxofonista insigne del jazz en Cuba

La presencia de estos artistas aportará una riqueza sonora y una dimensión interpretativa extraordinaria a un concierto que celebra el diálogo entre generaciones, así como la unión del talento joven con la madurez artística.

Entradas a la venta en la taquilla del Teatro Nacional.

(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