Yes, of course! Your emblematic dark chocolate colour cello. Amazing. Well, William, we are approaching the end of the talk. Is there anything you would like to announce?
Well, I haven’t recorded many CDs so far, only five. Among them, one with Dvořák’s Concerto and Tchaikovsky’s Variations on a Rococo Theme with the Simón Bolívar Symphony Orchestra and Eduardo Marturet as a conductor. And my first CD was called Oblivion — eleven short pieces for cello and piano, many tangos among them. And I hope that next year, my Bach cello suites will be released on Spotify. But I am being careful since I am not good with technology; my job is “cello”, and, to confess something, my biggest passion is chamber music because, when I play with my colleagues, it is a wonderful moment of sharing — like a cake that you share between friends.
It is a unique moment, I agree. And we musicians are so lucky to get to share such a moment with other human beings.
Exactly. But even though this is my most profound passion, I also love playing concertos, and I like playing in the orchestra — I played solo cello in an orchestra for all my life (first as a solo cellist of the Simón Bolívar Symphony Orchestra in Venezuela, and now as a solo cellist of the Mineria Symphony Orchestra in Mexico). And I taught for 40 years. I think that this versatility is essential in a cellist’s life. Teaching is fundamental, too — the collective consciousness through your students, to pass on a heritage. And what I also enjoy lately is watching my students teach other students — seeing their observation power at work. That is fascinating.
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