“If you can’t dance it, you can’t play it”
Sarah Willis's "Mozart y Mambo – Cuban Dances" album cover featuring a vibrant and colorful design with Cuban musical motifs.
Following the resounding success of their first collaborative album, the dynamic partnership between horn player Sarah Willis and the Havana Lyceum Orchestra continues to flourish with the release of “Mozart y Mambo Volume 2.” This new album embarks on a captivating exploration of Cuban musical traditions, deeply rooted in the vibrant world of Cuban Dance, while staying true to the spirit of Wolfgang Amadeus Mozart.
The original “Mozart y Mambo” project was born from a desire to celebrate the mutual admiration between Cuban culture and Mozart’s timeless compositions. Recorded in Cuba with the esteemed Havana Lyceum Orchestra, the first album beautifully blended Mozart’s genius with infectious Cuban rhythms. This cross-cultural dialogue resonated globally, raising awareness for the thriving classical music scene in Cuba and inspiring listeners worldwide to move to the rhythm. The Cuban people’s deep affection for Mozart is palpable, even leading to the charming notion that “Mozart would have been a good Cuban.”
Fueled by the overwhelmingly positive reception of their debut album, Willis and conductor José Antonio Méndez Padrón sought to deepen their exploration of Cuban music for this second volume. Beyond continuing with Mozart’s horn concertos – this album features the 1st and 2nd – they aimed to showcase the very essence of Cuban musical heritage. This vision culminated in an ambitious and exciting project: the creation of an original work celebrating Cuban dance.
Sarah Willis performing with the Havana Lyceum Orchestra in a concert hall, highlighting the collaboration on "Cuban Dances" project.
This vision materialized as “Cuban Dances,” a groundbreaking concerto for solo horn, strings, and percussion. Willis commissioned six talented young Cuban composers to contribute to this unique piece, resulting in the first ever Cuban horn concerto. “Cuban Dances” serves as a musical map of Cuba, with each of its six movements drawing inspiration from distinct regions and iconic Cuban dances. The concerto offers a fresh and contemporary take on some of Cuba’s most beloved dance forms.
The journey of preparing and performing “Cuban Dances” proved to be a profound challenge for Willis. It extended beyond the technical demands of the horn, delving into the very heart of Cuban culture. Her Cuban collaborators emphasized the crucial connection between Cuban dance and music, stating, “if you can’t dance them, you can’t play them.” This insight proved transformative.
Immersing herself in the world of Cuban dance – learning the steps and internalizing the rhythms – provided Willis with a deeper understanding of Cuban culture. She discovered that music functions as a fundamental language in Cuba, transcending words and communicating through powerful rhythms that inspire movement and embody a distinct state of mind. Dance is not merely a pastime in Cuba; it is an integral and essential aspect of Cuban life, permeating every corner of society. This vibrant cultural expression deeply resonated with Willis. Her hope is that “Cuban Dances” will become a significant contribution to the rich tapestry of Cuban music history.
In addition to “Cuban Dances” and Mozart’s Horn Concertos Nos. 1 and 2, the album features two enchanting arrangements by Jorge Aragón of classic Cuban songs: “Veinte Años” and “El Bodeguero.” “Veinte Años” features a guest performance by Carlos Calunga, a renowned vocalist from the original Buena Vista Social Club, whose rendition is described as deeply moving. “El Bodeguero,” a personal favorite of Willis, is presented in an arrangement that is described as simply breathtaking and full of joy. The album concludes with a special encore track, promising to leave listeners with a smile. “Mozart y Mambo Volume 2” invites audiences to experience the joy of Cuban music and Cuban dance, hoping to replicate the delight the artists felt in creating – and dancing – to it.
Sarah Willis, Havana 2022
