The renowned Cuban flutist and clarinetist, one of the greatest performers from both instruments of the last decade, says to JR for her "everything is a challenge '
"I'd rather prefer not know about that," says unable to hide the blush of young-winning flutist and clarinetist Niurka González Núñez, when asked his opinion about what not a few experts say: that she is one of the most important Cuban performers of both instruments in the last decade. "It's a big responsibility to live with it," he continues, trying to left behind a matter that she prefers not to talk about, which shows absolute simplicity, but also a very sensitive and very special soul, and concluded: " I could not face the challenges of life thinking about these things, although I am touched by the generosity of connoisseurs. "
However, and although you may, it is impossible to start listening to the way she endorses pieces so melodically rich and yet complex-like Leo Brouwer's 'Sonata for solo flute', Tango Studio No. 3, from Astor Piazzolla, Cantabile et Presto, from Enescu, or Hungarian Pastoral Fantasy for flute and piano, by Francois Doppler, giving us a warm, pure sound, without make praises. Gonzalez enjoys that enchants with its immense virtuosity and considerable beauty, wherever their feminine fingers move with the softness and vitality of the wind on the shiny keys of his flute in C, either in Cuba or in France, Spain, Ecuador, Germany, Czech Republic or England, where he surprised two years ago at the 5th. International Flute Convention, a prestigious meeting of flutists that allowed her to play in the concert hall Royal Northern College of Music in Manchester.
In her greatness as a concert also attests her first album Flute virtuoso, "a disc indispensable for lovers of the flute and for those who wish to know of this instrument more than what they offer, too often, existing records routine "as stated in the notes record the musicologist Laura Inclán Narbona, and which won the coveted prize Cubadisco Opera Prima 2004. But that does not stop, or perhaps exactly for this reason, "musicians like Silvio Rodriguez, Leo Brouwer, Jose Maria Vitier, Liuba Maria Hevia and Amaury Perez, among others, have invited her to participate as guest artist in their most ambitious projects.
Graduated almost a decade ago with Golden Diploma specializing in Bachelor of Music in flute profile, at the Instituto Superior de Arte (ISA), and-winning both in Cuba and abroad, the work of Niurka González Núñez, inexplicably is not well known, this is the reason why it is now a luxury guest in Juventud Rebelde.
- One day, being a primary student, you tell your mom you wanted to sing. When does the song gave way to the flute and the clarinet?
"After spending several years singing in the group Meñique by the guide of the teacher Maria Alvarez Rios, she recommended my mother to take me to pay qualifying examinations at the Conservatory Manuel Saumell. I remember we had high expectations because many of the applicants came from a family of musicians, so I was surprised when I found my name in the ranks of those who approved the tests. My first request regarding the instrument was the flute and clarinet was the second. At that time I was admitted on clarinet and some years later I began studying the flute.
- Did something change in your life when you won the first prize at the Conservatory of Music in Paris?
"The year I studied in Paris was very intense for me. I got a scholarship from the Ministry of Foreign Affairs of France supported by the french teacher Alain Marion. I received only one year of stipend and at the Conservatory of Paris one must study at least two years to have the right to stand at the competition. I have to ask the direction of the conservatory a special permit to allow me to take the exam, having completed only one year.
"After being approved, the preparation for the competition was very strong, those were months of heavy stress. And frankly the result was a surprise. Some of my classmates presented for the second time to the contest and of course they had more time at the conservatory. "
- What brought you to study under the tutelage of Professor Sophie Cherrier at the Conservatory of Music in Paris?
"The teachers are very important in the development of the musicians. They are the ones that open the door to a world full of wonders, if they have the sensitivity and knowledge to do so. So I am grateful to each and every one of my teachers for having invited to enter the world of music and love that road.
Sophie Cherrier is a great musician, flutist and an exigent teacher, with excellent results. Under her guidance I deepen into the study of the instrument, the sound, color, refining the technique to the service of expressiveness and interpretations of works in different styles. "
"The recording of "La región más transparente" (CD Homo Ludens), Leo Brouwer, is considered relevant. What has meant the teacher in your career?
"Maestro Leo Brouwer trusted me since I met him, when I was sixteen he invited me to play under its prestigious baton, this was my debut with the National Symphony Orchestra. Then I had the chance to continue working with him and play almost all the works that he has written for flute. I am very satisfied with the opportunity to work with one of the greatest cuban composers and musicians of all time.
- What has been the biggest challenge within the repertoire interpretive flutist who has had to face?
"For me everything is a challenge. Because I try to make the most of what I play or study. Those who know me have never heard that I have said that a music is easy.
- What represented for you an experience like participate in the 5th. International Flute Convention? Is it common for Cubans to attend events like these?
"This was a very stimulating experience. The convention of 2006 was a well attended meeting, you live intense days with all the flutists. Besides your own the concerts, you can attend to all concerts, masterclasses, presentations, etc.., And share with colleagues around the world. In these events the concerts are for free. The accommodation and other expenses are paid by the participants. I venture to think that is why the presence in Cuba is not common, since costs may be assumed by te participants itself.
"She teaches precisely at the Instituto Superior de Arte, where she studied. Do not take much time this work to your training as an instrumentalist?
"The vocation for music teaching is spontaneous. I like teaching because I feel it enriches me and because I bring something concrete. View the progress of your students, to see them growing is something tangible that I enjoy. So I do not see it as a lost of my time but as a gain, because it is a learning process for me too.
- Why currently there are so many women studying flute in Cuba?
"She said that the flute is" feminine "and that could be a reason, but honestly I do not know why so many flutists women here in Cuba. In the world the proportion is equitative of flute players of both sexes. In our country the flute students enrollment has increased in recent years. We must all work to raise the level of these graduates, because they will be the teachers of future generations.
- Why so long without re-record if flute virtuoso, your first solo CD, hit a Cubadisco award?
"You're absolutely right about that, other people also tell me about. I must re-record and I aim to do it any time. I am planning to record an album with repertoire of our continent, also with Mary del Henar Navarro, with whom I work for eleven years.
"You often appear in the credit of record productions of renowned Cuban musicians. What leads you to accept these projects?
"I've enjoyed and learned much with all these collaborations. I am delighted that they ask me to work with them and ... Repeat!
- Would you return to undertake an expedition into Cuban prisons?
"I'd do it. This expedition has been one of the most exciting projects in which I have participated. It gave me the possibility to prove how art can be fundamental to men, how much they can improve. Everything you can do is little to make culture more than a necessity, a right to contribute to be better inside and outside. Also, I live with the pride of being part of a warm group of brothers and sisters expeditionaries.
She talks about an upcoming concert with Solistas de la Haban and then with the National Symphony Orchestra. What can you forward to these presentations?
"Well the Concerto Soloists will be in November with music from maestro Leo Brouwer. The concert with the Orchestra will be on September 21st and I will play the Concerto for flute and orchestra by Carl Reinecke, under the direction of the Colombian teacher Cecilia Espinosa. I think it's the first time that this concert will be played in Cuba and is a romantic work, very inspired.
"Even with the duo Ondina (with Maria del Henar) we will have several presentations during the remainder of the year, the first on August 30 at the Basilica Menor del Convento de San Francisco de Assisi, with an important repertoire of flute'.
- How cn you manage to be a virtuoso performer, a teacher, Silvio's wife and mother of Malva?
"Fortunately, in my case, none of these conditions contradict but rather coexist in perfect harmony. I have total support from my family and I feel very fortunate to live each day in a home filled with love and respect. That makes easy the more difficult things.
"Being a mother, wife and a member of my family, is the most important thing of my life, because it is the human being who goes to the music, that's what makes me capable to play the flute. We are also very fortunate because we have much work to share, and when we share we enjoy the work of others as our own. I live with my feet on the ground, which means that I am not away from the problems that concern us all, but in general I consider myself as a happy person. "