At a time marked by emigration and the challenge of preserving artistic excellence in Cuba, the sustained work of the cultural platform Young Art Fund (FAJ) has contributed to the emergence of a valuable alternative for shared learning: the Orchestral Academy from Havana.

As a solid bet for the professional future of Cuban symphonic music, the Orchestral Academy was created in 2023., The program is an initiative of the Lyceum Orchestra of Havana, with funding from the FAJ, in conjunction with important players on the international symphonic scene such as the Balthasar Neumann Academy, the Esteban Salas Musical Heritage Cabinet, the Chair of Sacred Music at the Padre Félix Varela Cultural Center and the Cuban Institute of Music.

Today, it is showing remarkable results in lhe training of young orchestral musicians, under the guidance of national and international maestros. Its fruits are manifested in young performers who broaden their professional vision, enrich the collective interpretation, and contribute to a more diverse and resilient musical environment, exploring the meaning of each work through an authentic interpretive practice, mutually supportive on stage, with high artistic quality.

The academy, conceived as a quarry for the Lyceum Orchestra of Havana, allows high school and university students to share stage and music stand with professional musicians, in a pedagogical model inherited from the great European orchestras. This is how José Antonio Méndez Padrón (Pepito), director of the orchestra and leader of the project, explains it:

«We were inspired by the model of orchestral academies such as those in Berlin or Paris. The idea is that young musicians not only prepare themselves technically, but also learn directly how a professional orchestra works: its phrasing, its breathing, its rehearsal rhythm.»

Its first study program, promoted by the FAJ, encouraged the systematic exchange with Cuban and international professors with vast experience in teaching and performing in orchestral ensembles, in order to complement the training of twelve young fretted string players, selected after an audition process.

This initial support allowed the academy to grow quantitatively -in number of students and sections- and qualitatively, with a notable impact on the artistic and intellectual maturation of its participants.

«Thanks to the Fondo de Arte Joven we are able to have the academy today. The first impulse is always decisive. Since then we have been able to take a leap forward, not only in technique, but also in artistic vision,» Méndez commented.

A PARALLEL SCHOOL

The Academy does not replace the regular training of the national arts education system, but complements it with real orchestral practices, individual lessons and personalized mentoring. This combination has been key for musicians like Kevin Bouza, 23, a French Horn student at the University of the Arts of Cuba (ISA)..

«The academy is a big step in my career. They prepare us for professional life, and we learn from working together, not only in technique, but also in ethics and camaraderie.»

For Ana Gabriela León, 19 years old, who graduated from the middle level in the viola specialty at the National School of Arts (ENA), the challenge has been twofold: to combine her studies with the professional demands of the orchestra. However, she recognizes the growth she has experienced.

«It has taught me to manage my nerves, to always be ready. I feel I now have the tools to take on auditions, master classes and new opportunities with more confidence,» she said.

AN INSTITUTIONAL MODEL

Regarding the particularities of management, access to resources and networking, the coordinator of the Academy and manager of the Orchestra, Gabriela Rojas, highlights the fundamental role of FAJ not only in the creation of the Academy, but also through its participation in special collaborations, such as the concert with the outstanding pianist Marcos Madrigal., who is also the platform's musical director.

“FAJ was fundamental in the promotion and coordination with the media. We were coming from very intense staging with Actea and their support was key for everything to flow and for us to have a full house.»

The concert was not only a tribute to Madrigal, distinguished as a Chevalier des Arts et des Lettres de France, but also a litmus test for the academicians, who were integrated into the orchestra in a binomial format, together with experienced players.

«That partner work is essential,» Rojas says. «Students learn how to play in section, how to read the conductor, how to be attentive to the soloist. These are skills that are not acquired only in the classroom.».

Elias Ferrer, The 18-year-old percussionist, who graduated from ENA's intermediate level, sums it up clearly:

«It was a burst of emotions to participate in that concert. You're next to incredible musicians, accompanying someone like Marcos Madrigal... it's something that marks you.»

BETTING ON THE FUTURE

The academy also emerged as a response to a complex context. Emigration has emptied the ranks of many musical groups on the island, and the Lyceum Orchestra has been no exception. According to director José Méndez himself, more than 80 % of its musicians have left the country in the last three years:

«Filling that void is a tremendous challenge. And thanks to the Academy, little by little, we are training those who can fill those spaces.»

It is not just about filling positions. The Academy seeks to build integral artists, musicians with critical thinking, curiosity and sensitivity to the social and historical context of the works they perform.

«It's not just about technique anymore,» the conductor points out. «Young people want to know who the composer was, how he lived, what country he was in, how that influences the work. That's being an artist.»

Gabriela Rojas also highlights the stimulating values of the initiative:

“Beyond the technical preparation, the benefits are mutual. The presence of the young people has revitalized the orchestra itself. «They bring energy, enthusiasm, a desire to learn and do new things. That's oxygenating.».

In a country where opportunities are scarce and young talent seeks horizons beyond its borders, the existence of spaces such as the Havana Orchestral Academy -and the projects that make it possible, such as the FAJ- represents a light among the shadows.

«We want to leave an imprint on these kids,» Rojas concludes. «That they can look back and say, ‘That's where I learned what it means to be a musician.’ And if that happens, then it will have all been worth it.»