A delegation from Viale participated in the presentation of the Entre Ríos Symphony Orchestra at La Vieja Power Plant. It was within the framework of the For the first time in the concert program, implemented by the Entre Ríos Culture Secretariat. “We had never heard the orchestra, it was beautiful,” said a woman from Vial.
The Entre Ríos Symphony Orchestra (OSER), dependent on the Ministry of Culture, performed this Saturday its fifth presentation of the 2024 season. A large audience went beyond the limits of the capacity of the La Vieja Cultural and Convention Center Usina to enjoy a night of concert that paid tribute to the composer, probably the most recognized and performed in the world, Pyotr Ilich Tchaikovsky.
Under the baton of the Symphony’s artistic director, Luis Gorelik, the performance had its climax with the participation as soloist of pianist Hugo Schuler. The widespread applause continues to seal the path of a symphonic group whose history goes back more than 75 years.
The event began punctually at 8:30 p.m. with Mtro. Gorelik welcoming those present, among whom was the Secretary of Culture of Entre Ríos, Fabián Reato. The director was in charge of reviewing the first work that was performed, and thanking the support of the House of Russia in Paraná as well as the presence of the authorities of the House of Russia in Buenos Aires, and also the audience present.
From Viale
The gala was attended by spectators from the city of Viale, who for the first time were able to see and hear the OSER. Your participation is part of the program For the first time at the concert, carried out by the Ministry of Culture of the province with the purpose of promoting the attendance of people who have not had the possibility of attending a performance of the orchestra. The intention of the program is to reach all Entre Ríos residents, since there are many inhabitants of the province who have not yet been able to enjoy the Symphony.
“We had never heard the orchestra, it was beautiful,” said Itatí, 39, who belongs to the Centennial Music Band of the Municipality of Viale. A similar opinion is that of Roberto, 54 years old, who traveled with his family and considered that the concert was “very good.” He said: “I play trombone in a popular music band and you learn a lot by coming and being able to listen.” Meanwhile, Milagros, 18, commented that she had heard some works as a child. She attended with high expectations, but the orchestra exceeded them. Enthusiastic, Juan Cruz, 10 years old, member of the Banda del Nido de Viale, wanted to give his opinion: “I really liked the piano,” he remarked. The boy attended with Vanina, his mother, who expressed emotion about the experience.
The Viale spectators traveled in a vehicle provided by the Ministry of Human Development. Visits by groups from other locations are coordinated with municipalities and communes.
tribute night
The musical repertoire began with the Ballet Suites Sleeping Beauty (three movements), and Nutcracker (four movements); the two pieces of music most anticipated by the boys and girls present in the room, many of them sitting in the hallways. The gala ended with the Concert for Piano and Orchestra No. 1 Op. 23.
“The concert was sponsored by the House of Russia in Paraná, and that is why we think that through the music of the greatest Russian composer of all time, tribute is paid to the enormous Russian musical tradition, present in our country for more than a century,” Gorelik said of choosing the program.
Specifically, he noted that the suites from the ballets Nutcracker and Sleeping Beauty They represent the peak of the theatrical style of Tchaikovsky, who was, above all, a stage musician. “His gaze is always choreographic and plastic. This can be seen not only in his works for ballet or opera, but also in his symphonies,” he added. Regarding the Piano Concerto No. 1, “on the contrary, it represents one of the most finished examples of concert music, in which the piano dialogues with the orchestra through three linked movements, which move from a peaceful and melancholic beginning until an apotheotic finale in which he uses several rhythms typical of Russian folk music,” he noted.
The Artistic Director of the Symphony, who has served as such since 2010, referred to Tchaikovsky as “one of those musicians who traveled along opposite paths: the folklore of his native country on the one hand, and the great European music, on the other. another, achieving a unique synthesis within the symphonic musical tradition.”
The magic of the piano
In the majestic evening the piano had a central place on the stage, waiting to be played by the outstanding musician Hugo Schuler, guest soloist, distinguished with the highest awards in the main piano competitions in the country. He has performed in important international concert halls such as Germany, Holland, Poland, Spain, Italy and Belgium. As a soloist he has done so with prominent groups such as the Bruckner Akademie Orchester (Munich), the Argentine National Symphony Orchestra, and the Buenos Aires Philharmonic Orchestra, showing his closeness to the great romantic tradition by performing key works of the repertoire, including piano concertos and orchestra of Brahms, Liszt and Chopin.
Although the pianist had already worked with Gorelik, this is the first time he has performed with the Entre Ríos Symphony. “In fact, it is the first time I have visited the city,” he said about his presence in Paraná. “I had a lot of expectations for this concert; “a monographic evening about a great composer like Tchaikovsky, in which several of his most memorable works could be heard, without a doubt a very attractive proposal for the audience,” he said.
Schuler passionately performed the Concerto for Piano and Orchestra No. 1 Op. 23 with the OSER. The pianist expressed: “Without a doubt one of the most famous works of romanticism and the concertante repertoire for piano.” Along these lines, he added that in this piece the piano plays a predominant role, assuming different roles throughout the work. “Many times it plays a leading role, at other times it provides accompaniment to the orchestra, and on many other occasions a dialogue is established between the piano and the latter (or specific orchestral groups), with rapid comings and goings of musical ideas between both. . We could say that this concert represents one of the culminations of musical romanticism, with its great share of exuberance and virtuosity,” he said.
