
{"id":299053,"date":"2024-03-31T20:21:18","date_gmt":"2024-04-01T00:21:18","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=299053"},"modified":"2024-03-31T20:21:18","modified_gmt":"2024-04-01T00:21:18","slug":"pepe-gavilondo-i-want-the-universe-to-show-me-the-way","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/music-culture\/pepe-gavilondo-i-want-the-universe-to-show-me-the-way\/","title":{"rendered":"Pepe Gavilondo: \u201cI want the universe to show me the way\u201d"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Pepe Gavilondo announced his departure from <\/span><a href=\"https:\/\/oncubanews.com\/tag\/sintesis\/\" target=\"_blank\" rel=\"noopener\"><b>S\u00edntesis<\/b><\/a><span style=\"font-weight: 400;\"> after appearing as the band\u2019s keyboardist for a decade. It is not the only news. He has also announced the completion of other projects that had tied his body and soul for years.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Although Gavilondo is today an established artist, it was not always like this, when the most contemporary and risky music did not swarm through the island\u2019s sound universe. Creating would become a necessity for him. The same one that is making him escape from the security built for years to close the circle and launch himself into new, unknown waters.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Gavilondo feels privileged. None of those professional and emotional commitments even remotely loomed when he graduated from ISA at the end of 2013 and he didn\u2019t know what to do with his life.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It is a similar feeling that leads him to make these changes and close a cycle in his career and his life. With Ensemble he has announced his first and last tour of Europe. According to his metaphor, he is the swan that before dying decides to give his last song. He wants to live outside of Cuba. He wants to know, feel, smell, see; experiences, people, places. Elements that contribute to his purest state, that of a composer.<\/span><\/p>\n<p><b>What has it been like to say goodbye to S\u00edntesis after ten years?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">It wasn\u2019t easy, like all goodbyes after so long. A decade of work, so much family, so many beautiful experiences&#8230; There comes a time when I thought it was time for someone else to take the baton.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This decision is not isolated, it has to do with how I feel at this moment in my life. I am ending not only with S\u00edntesis, but with other projects and with a lifestyle, or at least with a chapter of my career as a musician that has lasted almost fifteen years.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I think that for me, it is also time to rest a little and see what I can explore beyond Cuba. Almost my entire career, although I have traveled and had a lot of experience abroad, has been consolidated and taken place in Cuba. S\u00edntesis is a part of that; it hurt a lot to walk away, but I had, for a change, a lot of support from Carlos and Ele and from all my friends in the group. It makes me very happy to see them happy with the new person who stayed (Marlon Bordas), who is a tremendous musician. Life is like that, cycles. They begin, they end; we have to continue, we have to move forward.<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"\u00a8SI YO FUERA\u00a8 2019 DVD S\u00edntesis 4 d\u00e9cadas\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fpwA6wpLxH0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><b>You once mentioned that your contribution to S\u00edntesis was, above all, commitment (<\/b><a href=\"https:\/\/magazineampm.com\/entrevista-pepe-gavilondo-le-estan-quitando-a-la-gente-la-curiosidad\/\" target=\"_blank\" rel=\"noopener\"><b><i>Magazine AM:PM\u00a0<\/i><\/b><b>2019<\/b><\/a><b>). What was your legacy at S\u00edntesis?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">From a practical point of view, I did not creatively contribute as much as Luc\u00eda Huergo did in the beginning, or Esteban Puebla or X, who not only became keyboard legends in Cuba but also composed many songs, made many arrangements. They were musical directors together with Carlos. I really stayed in the role of performer, always making my contributions, developing ideas with Carlos, but I never composed a song or made arrangements.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It does make sense that my contribution has been that intensity and that physical and emotional commitment that I have put into that music, because it is my only way \u2014 at least that is how I have felt \u2014 to complete the cycle with what that music leaves me.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edntesis\u2019 music has taught me so much, it has purified my soul so much, that the least I can do is give it my 150% when I play.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I\u2019m sure Ele and Carlos wouldn\u2019t like me to think that, as if my only contribution to S\u00edntesis had been jumping around on stage; not at all, and I\u2019m aware of that too. At certain times I have served as a translator of Carlos\u2019s ideas. At other times I have provided good energy and organization, something I am very good at.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Creatively it was not a group in which I exploded by any means; but I did contribute a new way of playing and conceiving the interpretation of those very anthological keyboards, consolidated by Esteban Puebla, Luc\u00eda Huergo, Ern\u00e1n L\u00f3pez-Nussa, Gonzalo Rubalcaba, <\/span><a href=\"https:\/\/oncubanews.com\/tag\/jose-maria-vitier\/\" target=\"_blank\" rel=\"noopener\"><b>Jos\u00e9 Mar\u00eda Vitier<\/b><\/a><span style=\"font-weight: 400;\">. It really is a strong legacy, and it is strong to follow in the footsteps of all those people.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Knowing what my capabilities were, I took it where I could and enjoyed it very much.<\/span><\/p>\n<p><b>I suppose your decision to leave had to do with those concerns about composing, and in S\u00edntesis, as you mention, you had a more interpretive role.<\/b><\/p>\n<p><span style=\"font-weight: 400;\">It didn\u2019t have much to do with it. As I said, the decision is part of a series of decisions I am making in my life at this point. I was never really uncomfortable with that role as an interpreter, quite the contrary. My creative side could be poured into other worlds, like in Ensemble Interactivo de La Habana.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In S\u00edntesis I was always interested in mastering the interpretive part more because it is a world to which I arrived knowing absolutely nothing. Neither the music of S\u00edntesis, nor jazz, nor Afro-Cuban music. In terms of interpretation and how I conceive playing the piano and keyboards, S\u00edntesis gave me a lot.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I listened to that music a lot before joining the group; but until then, except for my experience as an arranger, musical director and pianist in trova groups \u2014 like with Ariel D\u00edaz, for example, with whom I have had a very long collaboration over the years \u2014, I had really focused on concert music, academic composition, sheet music.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The year I entered S\u00edntesis, 2014, was very important. I co-created the Ensemble Interactivo de La Habana, and that whole part began to merge and I began to make music for dance and film more consistently at that time. They were processes that occurred more or less simultaneously, but definitely with S\u00edntesis and the theme of working with keyboards, with synthesizers, the base, the bass, drum, percussions and electric guitar, influenced me a lot.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nowadays, happily, whenever I\u2019m composing I find myself using many concepts that I learned from Carlos and how he conceives S\u00edntesis music in a general way. Those creative-aesthetic concepts of composition have influenced me greatly.<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"EIH - Highlights del Premio de Composio\u0301n 2015  - Introduction and Breakaway\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-KefKkdZZvo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><b>You\u2019ve already mentioned it. 2014 is a crucial year in your career. You start with S\u00edntesis, co-create EIH and later start composing for dance and film. How do you flow with all those artistic projects in your personal life and in your character as a composer?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">I started composing in 2005 when I was studying composition with Juan Pi\u00f1era. Then I entered ISA and graduated. I would say that until 2014-2015, when I recorded my album thanks to the Conmutaciones Scholarship that I obtained from the Hermanos Sa\u00edz Association and that I can record my symphonic chamber music album, <\/span><i><span style=\"font-weight: 400;\">Voces del subconsciente<\/span><\/i><span style=\"font-weight: 400;\">, I maintained a more stable role as a composer. The more I got into into S\u00edntesis, into Ensemble, when I started working for <\/span>Acosta Danza<span style=\"font-weight: 400;\"> in 2017 and with other choreographers, and I started making more music for film and audiovisuals consistently, I found myself (it has a lot to do with why I am making these decisions) in a purely collective creative aspect, which was the best thing that could have happened to me in my life.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Learning to create in collaboration with other people or for other people has been my most vital experience as a musician and as an artist, but it meant expressly diving into those types of collaborations. Music for dance is not just you; you are collaborating with another creator; with film music, it is the same. You are making many commitments, you are modifying your way of conceiving an aesthetic, a style, a music, for the common good of the choreographic piece, the audiovisual piece, documentaries, short films, whatever. With Ensemble, it is also pure collective creation.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I would say that since 2017 what all of this did was distort that soul, or that ego necessary to be an individual creator, a composer. I distorted it so much that I really unlearned how to make music for myself. Now I find myself at a point where I have worked so much for other people and with other people \u2014 and I want to clarify that I am not tired of doing that at all \u2014 that for months I have had many ideas, many desires to do specific things, and I have no time.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I didn\u2019t have the hours that one needs to compose a symphony, a concert. In 2020 it was like being reborn a little, but in 2021, when we began to recover from the pandemic, I once again stopped having time. I have learned so much to create music and create art with other people, that now I feel that I have many tools to translate what I have here in my head, which are my most private, most personal things, into music. But it has to be an individual process, at least at the beginning.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Looking back, I have had a privileged life in terms of music creation, because you couldn\u2019t wish for better friends and better musicians, and learning from them has been a privilege.<\/span><\/p>\n<p><b>Let\u2019s talk about EIH. Regarding \u201cCaracol nocturno,\u201d how much composition and improvisation is there in that work and in what you do in EIH?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Ensemble is the love of my life, it is like my baby; a project that a group of friends created in 2014 and that has continued to transform over almost ten years by many special people. Now we are four. We are preparing, probably almost on the verge of breaking up, our first international tour, in Europe, and we are very happy.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It has been a fabulous trip. It has been the greatest school I have ever had (I hope Carlos and Ele don\u2019t get angry), but it has also been different in many ways. Thanks to the Ensemble I began to understand the purpose of being a musician and being a creator, not a composer. I have learned so much about music, about instruments, about how to take the act of musical interpretation towards the level of performance, scenic, interdisciplinary art\u2026 that I have been a photographer, composer, pianist, I have written. Art as a single thing. The Ensemble in that sense has been the greatest school I have ever had.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Speaking more precisely about \u201cCaracol Nocturno,\u201d a fairly old project (it\u2019s about five years old), it was conceived by Yasel Mu\u00f1oz, a member of the Ensemble, and by Alexander Diego Gil, an actor and collaborator, who is making spectacular films; a genius.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The project is one of our peaks, our opus magnum because it represented and brought together all the ways of creation that we had been exploring for years. Pure improvisation, plus the discipline that comes with having a person performing. Texts of literature, acting, music, performance. It all came together, and it really is an experience. I wanted to do it later, in 2021, 2022, but it was very difficult. It requires many rehearsals, a large group. There weren\u2019t so many of us at that time. I\u2019d say it\u2019s one of the best things \u2014 if not the best thing \u2014 Ensemble has ever done.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Everything we do is based on improvisation. What happens is that in \u201cCaracol Nocturno\u201d we decided as of the creative process that the best thing was not to leave it to chance all the time, but rather to build a series of general structures for each of the three movements or the three poems. That helped us to have a clearer direction and to be able to flow better, because the texts are really very powerful. And also for Alex, the actor, it was good to have a structure to base himself on so he could give more of himself.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Another form of improvisation that we have enjoyed and that we don\u2019t do much is soundpainting, which is where all the shows we call Soundfound fall into, where I direct based on that technique created by a U.S. artist in the 1960s, designed so that there was greater communication and understanding of the phenomenon of improvisation in experimental contemporary art.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Thanks to this technique, what we have done in each Soundfound is a kind of workshop and inviting musicians, students and even children sometimes, to enter the world of super experimental music, free music, but that it be easy for them, and that they enjoy it and have fun.<\/span><\/p>\n<p><b>Tell us about the tour you\u2019re promoting in Europe.<\/b><\/p>\n<p><span style=\"font-weight: 400;\">It will be from April 18 to May 20. Everything has been organized, we have had immense help that we don\u2019t know how to thank from our friend Lea Jakob, German musician and promoter. We are going to play in cities in Germany, Austria, Switzerland and the Netherlands. Couldn\u2019t be happier.<\/span><\/p>\n<p><b>In one of your posts promoting the tour you say that this was the last of Ensemble\u2026.<\/b><\/p>\n<p><span style=\"font-weight: 400;\">In English there is a phrase; it\u2019s like the Swan Song; the swans about to die give their last song and die. What happens with us at Ensemble is that naturally, we are all in moments in which we have to follow our own lives individually. In practice, it will be impossible for us to sustain the project. It\u2019s not that the Ensemble is going to end; Ensemble is an eternal thing, because it is not a group that requires putting together music, much less rehearsing seven days a week, like other projects, and there is so much love and so much connection that it really transcends borders and transcends time.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The reality is that probably at the end of this year or next year most of the four of us left will be focused on our individual trips. This tour represents, on the one hand, something that we deserve, because we ourselves, from childhood to now as adults, with all the people who have passed and those who remain, have sustained the project, despite losing money, not becoming any richer, and making music that actually is not very appreciated or understood in this country.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We have done it precisely convinced that we know that we are doing a necessary artistic act, to balance a little the crisis that classical music and contemporary music are experiencing with respect to other music.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We have happily seen that, even on a small scale, we have had an impact due to the special and unique nature of our work. That tour is like, wow, it\u2019s good that we\u2019ve endured and that we\u2019ve persevered, because look at the fruit of our labor.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We don\u2019t know what\u2019s going to happen. Wonderful things can happen, who knows, but overall we\u2019re seeing it as our last big thing. We want to do one last concert in Havana, because it is what the people deserve, what we deserve too. Give them one last experience. It will be after the tour, July or August, our last official concert.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It is an eternal project, I have no doubt that wherever we see each other, Sara, Yasel, Mariana and I, Vivi and Lester who are already on the other side, Santiago Luna&#8230;wherever we see each other the Ensemble will be reborn naturally, because there were many years, and they are no longer friendships: we bond quantumly from the intense musical experience we have had in Ensemble.<\/span><\/p>\n<figure id=\"attachment_299057\" aria-describedby=\"caption-attachment-299057\" style=\"width: 1000px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-299057\" src=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1.jpg\" alt=\"\" width=\"1000\" height=\"750\" srcset=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1.jpg 1000w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1-300x225.jpg 300w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1-768x576.jpg 768w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-3-1-750x563.jpg 750w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><figcaption id=\"caption-attachment-299057\" class=\"wp-caption-text\">Pepe Gavilondo during this interview. Photo: Dagoberto Cobas Navarrete.<\/figcaption><\/figure>\n<p><b>You were talking about the crisis of classical music, and that it really is not very popular in Cuba. You, however, were in charge of sharing this genre at the F\u00e1brica de Arte Cubano. Were you able to reach a wide audience?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">It really hasn\u2019t been my responsibility. I am part of that mega-living organism that is F\u00e1brica, and the honor and responsibility of being in charge of those Nave 3 Thursdays was passed to me by Dayana Garc\u00eda in 2015. It was she who began programming the space.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I think so, yes, we have done a good job incorporating that experience of classical music, experimental alternative music, old music, all those types of music that have fit within that space; it\u2019s been fantastic. A challenge on the one hand, but it\u2019s been fantastic to see the result of people who would never really go to a concert hall to see classical music, how they sit back and enjoy and take what they can, what resonates within them, what makes sense for them. That\u2019s the magic of the F\u00e1brica.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For me it has been a privilege \u2014 as you see, my life is full of privileges. I am a very lucky person, because, in addition, from there we are helping classical music, which is in a very difficult state right now in this country, due to the exodus of musicians we are experiencing, due to the lack of opportunities, due to the non-existent market, due to the concepts that govern this world from the upper strata. I would say that we are in a crisis and that there are people fighting it, and people who continue to move forward. Ensemble, groups, musicians who don\u2019t get tired and continue doing what they can, swimming against the current.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Yes, there are institutions such as UNEAC, Casa de las Am\u00e9ricas, the Ludwig Foundation of Cuba, which have always given us support, and reflect precisely the most avant-garde, most up-to-date thinking on how to conceive classical music, experimental contemporary music, which are not those that are being executed in a greater way.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I will always profess enormous gratitude to those people and institutions because they helped a lot.<\/span><\/p>\n<figure id=\"attachment_299056\" aria-describedby=\"caption-attachment-299056\" style=\"width: 1000px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-299056\" src=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1.jpg\" alt=\"\" width=\"1000\" height=\"750\" srcset=\"https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1.jpg 1000w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1-300x225.jpg 300w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1-768x576.jpg 768w, https:\/\/oncubanews.com\/en\/wp-content\/uploads\/2024\/03\/pepe-gavilondo-Dagoberto-Cobas-Navarrete-2-1-750x563.jpg 750w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><figcaption id=\"caption-attachment-299056\" class=\"wp-caption-text\">Pepe Gavilondo during this interview. Photo: Dagoberto Cobas Navarrete.<\/figcaption><\/figure>\n<p><b>You are closing a cycle in your career. You conclude your stage with S\u00edntesis, Ensemble. What\u2019s next?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">It is the end of a cycle. I\u2019m finishing commitments, and I want them to be the last set of commitments in good time. But the best thing I have is that starting in September I don\u2019t know what is going to happen to my life.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I\u2019m half lost and half super happy to give space to my creative self. First of all, I need to rest, I\u2019m creatively exhausted. I need motivation, inspiration, and unfortunately, this country is no longer giving me all that I need right now. I need to dive into the world and hear new sounds, new voices, meet new people, smell, taste, see everything. I need to group new experiences to realize what I want to do. Understanding what I want to get out of me and what are the best ways for me to do it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This stage that comes as of the end of this year or next year, for me, is a mystery, it is like the Ensemble. You never know what\u2019s going to happen. I\u2019m creating opportunities and seeing what gives. For now, I am applying for a master\u2019s degree in the United Kingdom. I have never lived a year away from my home, from my country, studying after almost ten years without formally studying.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It would be a challenge, but if it doesn\u2019t happen, fortunately, there is a project called <\/span><a href=\"https:\/\/oncubanews.com\/en\/culture\/ancestros-sinfonico-live-music-saves-us\/\" target=\"_blank\" rel=\"noopener\"><b>Ancestros Sinf\u00f3nico<\/b><\/a><span style=\"font-weight: 400;\">, which is an extremely motivating thing and of which I will continue to be a part, it has nothing to do with it not being in S\u00edntesis, because one has to follow people like X Alfonso or Carlos Acosta, because they are people who have a focus and are illuminating the right path.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">What I want precisely is not to plan my future and let the universe show me the way and see what is best. The same thing happened to me in 2014. When I graduated from ISA I didn\u2019t know what I was going to do with my life. That year, in September 2013, I thought: \u201cI don\u2019t know what I\u2019m going to do; I can\u2019t make a living here as a composer, I\u2019m not established, I don\u2019t have a name&#8230; And suddenly, S\u00edntesis appeared, and suddenly F\u00e1brica appeared, and suddenly Ensemble appeared, and suddenly I had an amount of motivation and joy and desire to do impressive things. But I didn\u2019t plan any of that. Now I feel like I have to start from scratch.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All that intensity that you see when I play with S\u00edntesis or with Ensemble, behind it there\u2019s a level of stress and focus so that everything goes well and to give my best. I can\u2019t help it. Whatever I do in life, from now on, I will always give my 100%, because it is the way my parents taught me. And the music I listen to and the art I consume taught me that too. People who bled to death, died poor, but look at the paintings, the symphonies they left behind. Nobody loved them, depressed; but look at the art they left behind. For me, that is the greatest motivation, whatever I do.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>After a decade as a keyboardist for one of the best-known Cuban groups and collaborating on other projects, Gavilondo is taking some time for himself.<\/p>\n","protected":false},"author":12346259,"featured_media":299055,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13923],"tags":[14848],"ppma_author":[34883,34882],"class_list":["post-299053","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-culture","tag-cuban-music"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pepe Gavilondo: \u201cI want the universe to show me the way\u201d | OnCubaNews English<\/title>\n<meta name=\"description\" content=\"After a decade as 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