INTERVIEW WITH OUR MOTHERS

We have conducted interviews with composers, teachers, and colleagues who have been relevant in our development as a group. Today it is the turn of four people who have been, are, and will always be essential in every aspect of our lives: today we want to dedicate this blog article to the Lítore mothers!

To do so, we asked them 10 questions related to our beginnings in music, the obstacles along our professional path, and their perspective on the Lítore project. This is, without a doubt, one of the most special articles on our blog. You can choose one of the mothers and read all of her answers, or compare everyone’s responses question by question. You choose how to read it!

Members of Lítore Quartet with their families and the composer Adrián Mocanu after the concert in Cerezales del Condado, León. 17/02/2024, auditorium of the Fundación Cerezales Antonino y Cinia.

1. All of us in Lítore started music and the saxophone at a very young age. Was it a decision your son/daughter made on their own, or was it the parents’ idea?

   
   

   A. It was a decision made by the parents. For work reasons, Sira and her younger sister had to travel with me every day to the school where I worked. This meant they could not interact with other children their age from the town where we lived. Daimús has an elementary-level music school, so I took advantage of this resource to encourage their socialization by enrolling them in solfège classes and later in the youth band and the town band.

   
   

B. He decided it himself. He started singing in the choir “El Molinet” in his hometown, Molins de Rei, at the age of four, and he enjoyed it very much. At seven, he felt the instinct to play an instrument, and we enrolled him at the Julià Canals Municipal Music School.

C. The idea that Hugo should start music came from us. We had several friends who were musicians in the Agrupación Musical do Rosal, and that made us consider that musical activity could also be interesting for our son.

D. It was a decision we parents made, taking into account his wishes, as he was very young when he started studying music. In the family, his sisters were already studying music. Choosing the saxophone was his own decision; in fact, his father enrolled him in clarinet and had to change the registration to saxophone as soon as Jaime said so… it was saxophone or saxophone as his conservatory instrument.

2. Today music is our profession and a very important part of our identity. What did music and art in general mean to your son/daughter during childhood? Was it something they enjoyed, felt indifferent about, or even disliked?

   
   

A. From a very young age, Sira showed musical talent. She was a very disciplined child and enjoyed playing the saxophone. She never showed disinterest; it was always a motivating activity for her. She was always free to continue or abandon her musical studies, especially when things became more difficult in the final years of the professional degree. This meant more hours at the conservatory (11 hours a week), in addition to the pressure of high school studies and other activities such as theatre studies at the Act & Play academy and band rehearsals.

B. Music and art, for me, in this case, are words that go together. You need art to play music, and music is an art. It was and is an activity he enjoyed and lived very intensely, and now he lives for music.

C. During his early years there were good and bad moments, as music is a discipline that requires dedication and consistency, which Hugo sometimes lacked. Even so, he liked going to music classes, especially the moments with his classmates. Once he joined the Banda d’O Rosal, his motivation for music began to grow more and more.

D. Honestly, Jaime enjoyed it like no one else from the very beginning. We never had to push him to practice, study, or attend classes. What’s more, whenever his grandparents came over and asked him to play something, we didn’t have to ask twice: he would grab the saxophone and imitate his teacher.

3. We all remember difficult moments during our early years of musical training. Do you recall any stage when you felt your son/daughter was discouraged about music? If so, how was it resolved?

   
   

A. I remember a Harmony teacher who enjoyed acting tough with the students. Luckily, the rest of the teaching staff was more empathetic and affectionate with her. To prepare for the entrance exams to the Higher Conservatory, we decided to enroll Sira in private harmony and analysis lessons on Saturday mornings. We had to travel to another town almost an hour away and assume an additional financial cost. With this teacher, Sira overcame her insecurity about the entrance exams, which she passed with very high marks, and she also learned many contents outside the syllabus that motivated her to continue her higher studies.

B. I have never seen him discouraged by music. It is true that in some auditions, concerts, or classes he demanded a lot from himself, but it never went beyond that. Perhaps during the second-year higher-level exam, in the middle of the pandemic, having to take it online frustrated him, because he felt he couldn’t give everything he would have in a face-to-face exam.

C. During the years at the music school, there were occasional moments when he wanted to quit music because he was not very consistent and that led to poor academic results. But, as I mentioned before, once he joined the band he became so enthusiastic that he decided to apply for the professional degree entrance exam, where he achieved very good results. From that moment on, his relationship with music became positive and indispensable.

D. The truth is I don’t remember any discouragement. I think he always enjoyed auditions and concerts, especially as a child. There were difficult moments with teachers or accompanying pianists, but he managed to overcome them with resilience and with our unconditional support.

4. At some point we decided to pursue a higher degree in music as university studies. How did the family receive this news? Were you afraid of difficult job prospects?

A. This moment was somewhat complicated. Sira had an excellent academic record in high school, and even her teachers advised her to choose other degrees with better job prospects. It was a turning point, but despite everything we were always by her side, supporting and accompanying her in her future and uncertain artistic career.

B. We received it with great enthusiasm, because it was what he wanted. You can’t clip their wings. It is true that making a living from music is difficult, but in any case it would have been a vital complement. The point is that he has managed to live from it, just as he wanted.

C. At first I wasn’t convinced it was the best option, and many people around me told me it wasn’t worth it. But over time, seeing that it was truly what Hugo liked, I changed my mind and we supported him in everything.

D. In Jaime’s case, it was already clear from primary school. The fear of job placement is always there, but we also know that with effort you can achieve what you set out to do.

Lítore Quartet and family members after their concert at the Centro Botín in Santander. 13/03/2023, Santander.

5. Lítore Quartet was born at a time when all four of you were beginning, with great enthusiasm, a process of personal and professional growth. What did you think when this project started? Did you believe it would reach this point, both in terms of time and professional journey?

   
   

A. “Familiarity breeds affection”: that’s how Lítore Quartet was born. Four adolescents of very similar ages who shared the same interest in music and the saxophone and who, moreover, lived together in the same house. This ensemble was a GIFT for us parents. Since their beginnings as a saxophone quartet, we have accompanied, guided, and helped our children, because without our help—especially financial—it would not have been possible. We have gone to their concerts and competitions across different provinces of Spain, hosted them in our homes, and taken care of them as if they were our own children. We have enjoyed their performances, always so correct and professional, but we have also suffered alongside them in moments of frustration and disappointment, especially in some national-level competitions. But their strength is their resilience: they always learn from these negative situations and try to improve in order to be better musicians and better people in the future.

B. The project seemed wonderful to me; it has been a great way to become personally involved in a musical project that has undoubtedly generated personal and professional growth thanks to the discipline and good work that such a project requires. Honestly, I didn’t think they would go this far, but this is a clear example that hard work done thoughtfully bears fruit.

C. The start of the project made me very happy. I was convinced it would grow because you are responsible and very hard-working people, and you also have a very beautiful personal relationship.

D. When the project started, it honestly seemed very interesting and exciting, because being part of a group involves teamwork, consensus, and always keeping your fellow members in mind… all of this is very enriching for personal and professional growth. Many musicians work individually, and that solitude can sometimes be harder to manage. In the end, they have often been a second family to one another. Celebrating success or facing failure is always better in company.

6. We are very aware that without your support—both emotional and financial—we would not have been able to achieve so many goals. Has it ever been difficult to support your son/daughter? If so, what has been the biggest obstacle?

   
   

A. Being the mother of a “musician” is a very enriching experience, but it also comes with difficult moments, especially during the training stages or throughout the process of building their own professional career in music. The main obstacles I have encountered (and there are many) have been:

• Economic and job insecurity.

• Studying music requires many hours of practice and dedication, sacrificing family time.

• Constant support with travel, competitions, etc.

• High financial costs (instruments, reeds—which are expensive, for example—private lessons, accompanying pianist, travel, living expenses when studying away from home).

• Lack of social support, as society does not value music as a serious career.

• Lack of recognition of the daily effort involved in being a musician.

• Psychological and emotional pressure, as many doubts arise along the way. Anxiety about my daughter’s professional future.

• Competition in the musical world.

• The frustration generated by an unsuccessful competition, criticism, etc., after so many hours of dedication and study.

• Difficult educational decisions, such as supporting my daughter in studying music as a career or even sending her to another city (Palma de Mallorca) or country (Zurich) to study with good teachers.

The most important thing has been to support my daughter and trust her vocation, always respecting her artistic decisions.

B. It has not been difficult to support him; I believe any parent enthusiastic about seeing their child grow, and with favorable conditions, would do it no matter the cost.

C. On an emotional level it has not been difficult to support our son despite the distance, as we were in daily contact, talking about everything and supporting him. Perhaps the most difficult part was the financial one, since the investment was high for a family with three children, but it was certainly worth it.

D. Honestly, fortunately it has never been difficult to support him; quite the opposite—we get excited about every new project. Sometimes we do miss him because of the distance.

7. Over our six years together, we have created a circle of personal relationships that also includes the families and friends of the four of us. What is the relationship like among the Lítore families?

A. In general, we are parents who are deeply committed to our children. There have never been comparisons among them, and we have always respected their artistic decisions. Since we live in different autonomous communities (Galicia, Catalonia, and the Valencian Country), each family has been there when needed, especially providing logistical support (transportation, accommodation, rehearsals in family homes, etc.). For this reason, coordination and support among families has been essential to sustaining the group in the long term, especially when they started five years ago, as they were very young and had limited resources.

B. The relationship within the Lítore family has been and continues to be fabulous. We all row in the same direction; the only thing we haven’t done yet is take a trip all together—Lítore and parents. Let’s see if in the near future they organize a private concert for the parents somewhere in a beautiful spot on the peninsula!

C. The relationship among the families is quite close, even though we are in different places. Over the years we have created bonds and formed a true Lítore family.

D. It is a cordial, collaborative relationship; because of the distance, sometimes closer with some than with others, but it is truly heartwarming to know that we are all there to support them.

8. In many of our projects we have been lucky enough to stay at our families’ homes. You always take great care of us and treat us with so much affection, and we are very grateful for that. What is it like to host Lítore in your home?

A. A good family atmosphere can positively influence the group’s performance and continuity. When it has been my turn to host them, I have tried to create a good environment, making sure they were well fed and comfortable. I have been available 24 hours a day to drive them, pick them up, etc. But I have also gained a lot from their visits, listening to live music during rehearsals and having interesting conversations with them. I have always experienced this as an exchange, not just as “help.”

B. The house transforms, and it is a delight to have them. You can feel the youthfulness in the air, and they are very grateful guests. We live it with great intensity and excitement; it’s like having children while they are at home. Hugo, Jaime, Sira, and Miquel, I love you <3.

C. It is always a joy to welcome you, and we are really looking forward to your next visit. We only hope you feel at home.

D. A marvel. Suddenly the house fills with music, long after-dinner conversations, lots of food, many shared dreams… so much emotion. It is a true pleasure—almost a luxury—to have them at home and share all these good and not-so-good moments. There is no money that could pay for it… it’s like having three more children. I truly hope they have the luck they deserve in life!

9. What do you think Lítore has given your son/daughter, both personally and professionally?

A. The contributions are many, both musically and on a human level. Musically, by playing higher-level repertoire, technical skills have improved. But they have also learned to cooperate, negotiate, commit, and so on, strengthening their sense of responsibility when it comes to rehearsing and studying. In addition, peer support boosts confidence, since successes are collective. They learn to manage frustration in a mature way and develop communication and problem-solving skills. In short, the quartet not only shapes more complete musicians, but also more empathetic, collaborative, and committed people.

B. A very positive experience. I believe that, in the end, this project has been a way to grow—and very quickly—in all aspects: making decisions, sharing almost everything such as rehearsal time, motivation, and even an apartment, and living a mature adult life without quite being adults yet.

C. On the one hand, excitement and motivation for the project; on the other, I think it has helped him grow enormously as a musician in every sense and has provided many life experiences that are difficult to achieve individually. Above all, Lítore has given him very important friendships.

D. In both areas I believe it has contributed greatly: personally, through friendships that I believe will last a lifetime, by sharing experiences and respecting other points of view; and professionally, through the drive and motivation that comes from knowing that if one person fails, the whole group fails—something that leads to overcoming fears and possibly facing challenges that might not have been considered individually.

10. As you know, we want both the project and our friendships to remain active for many years to come. What advice would you give us to achieve this?

A. Maintaining a quartet over the long term is a real challenge, but also one of the most enriching experiences for a musician. You simply need to continue along the same path, with patience and respect. Human relationships are fundamental; only in this way will you be able to overcome any emotional, technical, or logistical obstacle. You should continue with regular online meetings, task distribution, shared decision-making, and common goals to keep motivation alive. Also, keep participating in festivals, concerts, competitions, recordings, and so on that spark your interest. And above all, be flexible and support each member of the quartet during difficult times, both personal and professional.

B. You are young; the key is not to lose enthusiasm for the project. You have overcome a pandemic, lived together, and know each other very well. Therefore, as long as you stay connected, motivated, and continue to take care of your personal relationship, it will be easy to keep moving forward and live many more experiences that you will one day tell your children about.

C. The main advice is to maintain the respect and affection you have for one another.

D. It is a very good goal. I believe that continuing as you are—with a great deal of respect and affection, supporting one another, always seeking consensus, and working on projects that excite all four of you—is the key.

Thank you, Lítore mothers, for all your unconditional support and trust in our projects. We love you very much!