Answer the question at the end by quoting:

Roberto Carlos da Silva Rocha (born 10 April 1973), more commonly known simply as Roberto Carlos, is a Brazilian retired professional footballer. He started his career in Brazil as a forward but spent most of his career as a left-back and has been described as the "most offensive-minded left-back in the history of the game". He was nicknamed El Hombre Bala ("The Bullet Man") due to his powerful bending free kicks, which have been measured at over 105 miles per hour (169 km/h). He is also known for his stamina, running speed, technical skills, crossing ability, long throw ins and 24-inch (61 cm) thighs.
Roberto Carlos joined Real Madrid in the year 1996 close season, where he was given the number 3 shirt and held the position as the team's first choice left-back from the 1996-97 season until the 2006-07 season. During his 11 seasons with Madrid, he appeared in 584 matches in all competitions, scoring 71 goals. He is Real Madrid's most capped foreign-born player in La Liga with 370 appearances, after breaking the previous record of 329 held by Alfredo Di Stefano in January 2006. During his Real Madrid career, Roberto Carlos was, alongside Milan and Italy legend Paolo Maldini, considered the greatest left-back in the world. As a high-profile player and one of the most influential members of the team, Roberto Carlos was considered one of Madrid's Galacticos during Florentino Perez's first tenure as club president.  He won four La Liga titles with Madrid, and played in the 1998, 2000 and 2002 UEFA Champions League finals, assisting Zinedine Zidane's winning goal in 2002, considered one of the greatest goals in Champions League history. Roberto Carlos was named as Club Defender of the Year and included in the UEFA Team of the Year in 2002 and 2003. In the later part of his Real Madrid career, Carlos was named as one of the club's "three captains" alongside Raul and Guti. Renowned for getting forward from his left-back position and scoring spectacular goals, in February 1998, he scored arguably his most memorable goal for Real Madrid with a bending volley struck with the outside of his left foot from near the sideline in a Copa del Rey match against Tenerife in what was described as an "impossible goal".  On the final day of the 2002-03 season, with Madrid needing to beat Athletic Bilbao to overtake Real Sociedad and win their 29th La Liga title, Carlos scored from a free-kick in the second minute of first half stoppage time to put los Blancos 2-1 ahead. The team eventually ran out 3-1 winners to wrap up the title. On 6 December 2003, Roberto Carlos scored the opening goal for Madrid as they beat Barcelona in El Clasico at Camp Nou for the first time in a La Liga match in 20 years.  In March 2007, in the second leg of the Champions League round of 16 against Bayern Munich, Roberto Carlos failed to control the backpass when Madrid kicked off, allowing Bayern's Hasan Salihamidzic to steal the ball and feed to Roy Makaay, who scored the quickest goal in Champions League history at 10.12 seconds. Roberto Carlos bore the brunt of criticism for that mistake which led to the team's elimination from the Champions League, and, on 9 March 2007, he announced he would leave Real Madrid upon the expiration of his contract at the end of the 2006-07 season. His final goal for Real Madrid was a stoppage time winner against Recreativo de Huelva with three games remaining in the 2006-07 La Liga season. The goal proved to be crucial to Real Madrid winning its 30th league title as they eventually finished level on points with Barcelona, becoming champions via the head-to-head rule. Madrid clinched La Liga in Roberto Carlos' final match, a 3-1 win over Mallorca at the Santiago Bernabeu Stadium.

Did he also play for the National team at the time?

Roberto Carlos was named as Club Defender of the Year and included in the UEFA Team of the Year in 2002 and 2003.

IN: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.

As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycee Jeanson de Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.  Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldan, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era Conciertos de musica nueva (Concerts of New Music), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldan were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "!Abajo la lira, arriba el bongo!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldan collaborated on numerous works, including the 1925 orchestral piece Obertura sobre temas cubanos (Overture on Cuban Themes) which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included Tres pequenas poemas: Oriente, Pregon, Fiesta negra (Three little poems) produced in 1926, and two Afro-Cuban ballets: La Rebambaramba, a colonial ballet in two parts (1928) and El milagro de Anaquille (1929).  Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.

Was he always interested in music?

OUT:
Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ.