For IN·FLO·RES·CENCE Leyanis Valdés Reyes was commissioned by Reece Ewing to create a composition for solo piano around 1 minute in length responding to the changes to daily life during the global coronavirus outbreak. As part of the platform hosted by The Showroom, this individual piece and 9 others will all be interpreted and performed by the project’s first Artist-in-Residence, Pianist Elio Villafranca, throughout the duration of the project.

Enjoy Leyanis’s composition 21.12.12 performed by Elio.

In the below Q+A with Kevin Le Gendre (Broadcaster and Writer of Don’t Stop the Carnival: Black British Music, 2019), Leyanis discusses the impact of the pandemic in Cuba, her current creative development, unique composition for IN·FLO·RES·CENCE 21.12.12, and what this project means to her.

Q: How has the coronavirus pandemic affected you as an artist?

Leyanis: This pandemic has affected my work as an artist since we usually performed in clubs, doing live concerts. Live performances are key as one must confront many of the things developed over a long time from a new perspective. In this sense the interaction with the audience is crucial and very stimulating for both sides.

Q: Has there been more time to compose/work on your artistic development?

Leyanis: On the other hand I have had much more time to focus on what I want to achieve as a musician. I found the time to study in-depth some subject matters for which I never had the time before. This has been an unprecedented experience for all of us, we have experienced how it feels to perform in front of a smartphone the same we would do in a live concert. Which is a great idea/thing. I have also been able to analyse, listen, reflect, and thoroughly study my favourite pianists and delve into the realm of digitised music.

Q: How do you feel about the IN·FLO·RES·CENCE commission and writing a solo piano piece for Elio?

Leyanis: IN·FLO·RES·CENCE is an interesting project, it has allowed me to meet artists from other parts of the world and learn about their experiences. The piano piece that Ellio Villafranca will perform is not strictly for piano solo, but I chose it for its structure as it allows the interpreter to express his own ideas and propose a personal take/interpretation. Being able to flow wherever the piece takes him.

Q: 21/12/12 is an intriguing title. Does it have a specific meaning?

Leyanis: This piece is about the Mayan calendar, which forecasted 12/21/12 as a turning point when something would be ending and when an era would start.

Q: The atmosphere created in the first part is calm and reflective but there is a distinct shift in tempo and rhythm around the 3 minute mark before a return to the main theme. What does the structure represent?

Leyanis: This piece has an unusual structure, it starts with an intro followed by (ABCDEF), all the structures are different but when combined they should keep their own key. The composition departs from a single note, that develops with changes of pace staying always close to its tone/pitch, to conclude how it started. In that sense it could always be a start or an end.

Q: When I interviewed Elio he talked a lot about the primacy of rhythm in Cuban piano traditions. What is your point of view?

Leyanis: Our heritage of African and Spanish music is present in 12/21/12. It is a fusion between both, something one can see as well in the tradition of Cuban piano.

Q: Have you, like many Cuban pianists, also studied drumming/percussion?

Leyanis: Unfortunately I did not study percussion, but I work with my brother Jessie Valdés who is a percussionist. Very often we sit at the piano to compose together, and exchange ideas, be it about rhythm, harmony, structure, or style. It is always very interesting how percussionists have another ideas or ways to approach piano.

Q: You are a solo pianist yourself, so how does it feel to hear another pianist play what you have written?

Leyanis: I look forward to listening to Ellio Villafranca. This piece has many nuances, and it will be great to hear his interpretation.

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Q: Is 21/12/12 also something you would score for an ensemble?

Leyanis: I would adapt the rhythmic base for a larger ensemble adding miscellanea, “bata” drums, box drums, “botijas”, and human voices —gypsy chants—. All that would be adapted to the story I want to convey; 12/21/12 depicts a departure with a single note (as if it were a droplet), that develops with changes of beats shifting from more reflective parts to more lively ones, to conclude in the same way it starts.