Nelson Goerner, an unforgettable display of instrumental fantasy with dazzling sounds

On Monday evening, pianist Nelson Goerner gave an unforgettable performance of dazzling instrumental fantasy for the fifth performance of the Mozarteum at the Teatro Colón.

Through the evocation of geographies and landscapes proposed by Debussy in prints and Albéniz in the last notebook of the suite Iberiathe extraordinary sampedrino pianist guided the sound fictions between fantasy and abstraction.

Even in the less evocative ones, such as the four ballads that opened the first part of the concert, there is an underlying narrative (the first two based on the principle of the dramatic opposition of the themes and the last two on juxtaposition, rather than on the conflict of opposites). ) which was heard as a kind of unified cosmosdespite the interruptions of applause between each.

A comprehensive approach

Goerner, with his deep concentration and his artisanal and interpretative skills at the highest and most rigorous level, has reached a continuity between the four pieces through the internal rhythm that unites them and governs their progress. The pianist’s meticulous approach managed to reveal other connections in each of the four pieces, highlighting the vague outlines and different structures of each.

The introduction of the first ballad was heard as an impulse of a blow that was not separated from the rest, as is often heard in many other versions.

frequenter he is a master of transitions, goes beyond the simple game of sound contrasts, and keeps the epic, lyrical and dramatic tones in balance. The pianist’s color palette is as broad as his lyrical tone, he achieved such a beautiful enunciation of the second theme of the first ballad as of the third, a unique color in the repeated note at the beginning of the second ballad that extended to the impressionist tone more broad of the fourth.

With a technique capable of coping with everything, such as the prodigious clarity with which the three overlapping motifs were heard at the climax of the fourth ballad, Goerner maintained rhythmic stability, orderly textures, with a relaxed and always elegant naturalness. .

Debussy and Albeniz

A elegance which was also screened in the three issues of prints by Debussy, with a refined sensibility for harmony, colors and dynamics. A skilful touch has highlighted plans and sounds in the first and last song, Pagodas and Jardins sous la pluie.

But the rhythmic abstraction achieved by the performer The evening in grenade. The habanera rhythm is the unifying element of the piece, but instead of broadening it, the pianist neutralizes its extroverted expression and the evocation becomes a distant fantasy, full of illusionism.

Although in the three pieces of the last notebook of Iberia –Malaga, Jerez, Eritana– the rhythm plays more explicitly in the evocation of geographical places (such as the cante jondo and its characteristic melodic twists in Jerez), Goerner worked on the same level of abstraction and in favor of the sonic fantasy. Still inside Eritaniathe piece of greatest virtuosity and extroversion.

After long applause, the pianist extended the program with three generous encores: The second one Intermezzo Op. 118 of Brahms, the Studio Op. 10 nº4 by Chopin and the Hungarian rhapsody n. 6 by Liszt.

File

Fifth function, Season 70th Anniversary of the Argentine Mozarteum.

Nelson Goerner.

Program: four balladsFrederic Chopin; printsClaude Debussy; Book IV of IberiaIsaac Albeniz.

Monday 5th September Teatro Colón.

Qualification: Excellent

mfb