an outstanding pianist with illusionist features

The twelfth concert of the Buenos Aires Philharmonic subscription had a special touch with an unusual female presence: the premiere of Introitus, concerto for piano and orchestra, by Sofia Gubaidulina, and Music for bows, by Hilda Dianda from Cordoba, under the direction of the Brazilian Natália Larangeira, new assistant conductor of the Orchestra, with the pianist Marcela Roggeri as soloist.

A mischief, having completed the program with the Serenade No. 2 by Brahms. It is difficult to find justification for their inclusion, except for the most obvious: looking for a work that includes the presentation of a reduced orchestra, according to the requirements of the current protocol. But even within those limitations, the election could have contemplated a more consistent program.

Composer Juan Carlos Paz was not wrong when he highlighted in 1955 the qualities of sensitivity and organization in Hilda Dianda’s production and its peculiarity in the local environment. The meager current diffusion of his work is unfortunate.

The Philharmonic Returned To The Scene With A Program Whose Audacity Was Overshadowed By The Inclusion Of Serenade No. 2 By Brahms.  Colón Theater Press Photo / Arnaldo Colombaroli

The Philharmonic returned to the scene with a program whose audacity was overshadowed by the inclusion of Serenade No. 2 by Brahms. Colón Theater Press Photo / Arnaldo Colombaroli

Valuable rescue

In addition to being one of the pioneers of electronic music in Argentina, Dianda wrote works for traditional instruments with various formations. The three movements of Music for bows they do not bypass the traditional fast-slow-fast alternation.

The energetic first movement did not have the piercing precision demanded by its great rhythmic liveliness, and in great contrast to the Adage, which opens with a beautiful, deeply lyrical enunciation of the viola.

The successive relays between the strings were opening different planes until the return of the viola and the withdrawal to its initial meditative tone. Less accomplished, and more disarmed, the end of the play was heard.

After A Somewhat Erratic Start, The Direction Found Its Most Defined Course In Gubaidulina'S Work.  Colón Theater Press Photo / Arnaldo Colombaroli

After a somewhat erratic start, the direction found its most defined course in Gubaidulina’s work. Colón Theater Press Photo / Arnaldo Colombaroli

It is likely that both director and musicians have reserved themselves for the plaintiff Introitus, by Gubaidulina. Written in 1978, it is the first work that the composer wrote for piano after her Sonata, from 1965. The title of the work shows a preparation for something later, as in the mass; And it is not by chance, given the links that the composer maintains with the spiritual and religious world.

The work is a constant movement that does not advance towards any point. There is no climax in the play, except for certain dynamic intensities, but its atmospheric effect is fascinating.

A pianist bordering on illusionism

The performance of Marcela Roggeri was outstanding. Not only because of the virtuosity with which he resolved all the technical demands of the work, but also because of his formidable sonic illusionism.

The piano does not act immediately. At the beginning there is a whole section that is repeated three times, in which the piano does very little: a note that lasts, is repeated, but each of those notes has an emotional charge and a presence that Roggeri managed to transmit with great expressive power .

The piano It seemed like another instrument under the illusionism of the pianist, as if the keys were meters deep, with a watery sound quality, and a floating resonance that played with the oboe, bassoon and flute, practically soloists along with the piano.

Marcela Roggeri Responded To The Final Ovations With A Performance Of Satie'S Gnossienne Nº1.  Colón Theater Press Photo / Arnaldo Colombaroli

Marcela Roggeri responded to the final ovations with a performance of Satie’s Gnossienne Nº1. Colón Theater Press Photo / Arnaldo Colombaroli

There is nothing traditional about the concert, not even the roles between the piano and the orchestra. The great role of the wind soloists, and the orchestra in general, under the direction of Larangeira should be underlined.

After projecting Gubaidulina’s universe from end to end, Roggeri thanked the ovations with the Gnossienne Nº1by Satie. The night closed with a sober reading of the Serenta Nº2 by Brahms.


Philharmonic Orchestra of Buenos Aires Director: Natália Larangeira Soloist: Marcela Roggeri Program: Hilda Dianda, Sofia Gubaidulina, Johannes Brahms

Venue: Teatro Colón, Friday 19

Qualification: Very good

Reference from clarin