Alfas del Pi Music Society supplied three Could concert events to finish the primary a part of its annual season. However these have been three remarkably totally different concert events, every difficult in its personal means, every presenting a stunning mixture of the partially acquainted and the much less well-known. It was a repertoire to broaden a listener’s expertise and it achieved that and rather more.
The three concert events featured solo guitar, solo harp and a duo of cello and piano. The 4 musicians offered some fifteen works between them and all from totally different composers. There was not a single German or Austrian Classicist or Romantic inside listening to distance. There was no Chopin or Liszt, no Debussy and even Shostakovich or Tchaikovsky. There was French and Hungarian music but in addition Argentinian, Uruguayan, American, Spanish, Swiss and Italian, alongside just a bit German baroque.
Javier Llanes started the cycle with a night of solo guitar music. He began with Manuel de Falla’s Homenaje a la Tumba de Debussy after which continued with the Baroque suite L’Infidele by the German composer Samuel Weiss, a composer whose identification is perhaps within the Rococo, however his thoughts was clearly sooner or later. This was the closest our weekend approached to Classicism. The Hungarian Johan Kasper Mertz supplied the following piece within the type of his Elegie, a chunk of deep Romantic emotion. Mauro Giuliani’s Rossiniana Quantity One reminded is all how a lot improved Rossini’s music can change into when it isn’t in his personal palms! And the live performance ended with Una Lemnosita por el Amor de Dios of Agustin Barrios, which supplied a second of reflection to finish somewhat than a grand rousing celebration. The impact was magical.
And talking of magic, that is what Italian harpist Floraleda Sacchi generates from her instrument with such ease that maybe her fingers need not contact the strings. Now the harp repertoire won’t be identified to the common live performance goer, which signifies that any solo recital that includes the instrument should additionally introduce the viewers to new expertise. However his didn’t matter within the least to this viewers, such was the poetry of the enjoying. And by the night’s finish all of us felt as if now we have as if we might prefer to proceed listening to this music perpetually.
Floraleda Sacchi started with the Gitana of Alfonse Hasselmans and adopted that with two items however Argentinian composers. Astor Piazzolla’s Oblivion was the closest the weekend got here to reputation and it’s a work that has change into not solely a well-known, however near cliché, although not on the harp. Claudia Montero’s Evocaciones adopted and it proved to be an actual revelation, provided that it was each substantial and difficult, being harmonically and rhythmically different, in addition to stunningly and refreshingly elegant.
Philip Glass’s Metamorphosis shaped the substantial filling on this meal-sized sandwich of this system. Floraleda’s alternative of repeats inside an already intentionally repetitive expertise metamorphosed this piece into an actual meditation through which the viewers willingly and profitably entered. The general stillness of the piece was steered by the close to fixed left hand arpeggio, while the smooth commentaries within the treble contrasted, leaving the bass notes to supply what seemed like a commentary. General Philip Glass in Floraleda Sacchi’s palms created a panorama that was perpetually of curiosity.
Floraleda Sacchi’s program completed with two items by Ludovico Enaudi, Dietro l’incanto and Oltremare, whose episodic element contrasted nicely with what had preceded it, and the viewers’s response to the night proved nothing lower than rapturous. Two encores adopted, Merengue Rojo by Alfredo Rolando Ortiz and Photographs by the harpist, herself. Not many within the viewers had ever heard a live performance of solo harp. Not lots of them will ever neglect the expertise.
A 3rd live performance in three days must distinction strongly with the others to show memorable. To say that David and Carlos Apellaniz did present ample distinction could be an understatement. Each the guitar and harp are smooth voices in a live performance corridor. A cello and piano, nonetheless, can generate various sound!
David Apellaniz was to play two cello concertos with piano accompaniment. This might be a feat in itself, however to play the Honegger concerto adopted by Milhaud’s first was a process and a half. Arthur Honegger’s music will be severely neoclassical. It can be tender and reflective, and this efficiency made probably the most of this vivid and thrilling distinction. Among the textures on this sound are enduringly memorable. Darius Milhaud’s music at all times appears to have well-liked tune close by, although the proximity is commonly solely hinted at by way of an virtually clear display screen of modernism. The general result’s one in all melodic and rhythmic pleasure and power.
After working very exhausting certainly, David left the stage for Carlos Apellaniz to deliver every little thing to an in depth with a solo piano efficiency of Gershwin’s Rhapsody In Blue. If we would have liked extra power on this live performance, we actually received it by the bagfull. This was a vivid studying of a well-known work, an interpretation that needed to merge the orchestral half with the unique solo piano, a feat that was each difficult for the performer and rewarding for the viewers, an viewers maybe accustomed to the work however not on this format.
And on the finish of the weekend of three concert events, one is reminded that there’s a lot of music on the market, that it’s all price discovering, that it’s all nothing lower than totally rewarding, if just one is keen to step outdoors of the predictability of what we already know. There should at all times be house for particular person voices and they need to by no means be crowded out by our pre-directed expectations.