Some musical moments stay with us forever.
On 28 October 2010, I had the honour of participating in a Composition Masterclass organised by the Academia OSESP at the magnificent Sala São Paulo, one of the world's finest concert halls.
Among all the works submitted, my composition "Entre Marés" ("Between Tides"), the title track from my second original album released by the Patavinas Jazz Club, was selected by the distinguished Brazilian musicologist and artistic director Arthur Nestrovski as one of only three compositions to be presented to the internationally acclaimed Argentine composer Osvaldo Golijov.
At the time, Golijov was already recognised as one of the most influential living composers. His music had been commissioned and premiered by artists such as Yo-Yo Ma and Dawn Upshaw, and by leading orchestras including the Chicago Symphony Orchestra, the Boston Symphony Orchestra, and the Atlanta Symphony Orchestra. His extraordinary catalogue spans opera (Ainadamar), vocal works (Ayre), chamber music (The Dreams and Prayers of Isaac the Blind, Yiddishbbuk), and acclaimed film scores for Francis Ford Coppola's Youth Without Youth and Tetro. His ability to blend classical traditions with jazz, folk music, Jewish liturgical music and Latin American influences has inspired composers around the world.
Hearing Golijov discuss my music was both a humbling and unforgettable experience.
To my delight, he responded very positively to Entre Marés. He praised several aspects of the composition and offered thoughtful observations and constructive suggestions that opened new perspectives on my writing. Rather than simply analysing the piece, he encouraged me to continue exploring my own musical voice, while refining the way I developed harmony, form and orchestration.
Those comments stayed with me long after the masterclass ended.
They became part of my own creative journey and influenced many of the compositions I wrote in the years that followed. Experiences like this remind us that learning never stops, regardless of where we are in our musical careers.
Today, when I teach improvisation, composition and musicianship, I try to pass on that same philosophy to my students. Technical knowledge is important, but finding your own artistic voice is what truly makes music meaningful.
Whether you are just beginning your musical journey or are already an experienced performer looking to deepen your understanding of improvisation and composition, I would be delighted to help you discover new creative possibilities.
After all, the best lessons are often those that inspire us to hear music—and ourselves—in a completely new way.