The great diversity of contemporary | This Friday at the Kirchner Cultural Center, admission is free

Javier more He will be in charge of the upcoming concert for National Symphony Orchestra. Mas, a prominent figure among the new generations of Argentine directors, will present on Friday at eight o’clock in the evening, in the National Hall of the Kirchner Cultural Center, a program that includes works by contemporary national composers. As usual, tickets can be reserved for free by visiting the website www.cck.gob.ar”>www.cck.gob.ar.

mythl Daniel D’Adamo, Apotheolipsl Marcelo Ribovi – with the composer as soloist on violin – and Almafuerte shelterl Gerardo Jerez le Cam -With Jerez Le Cam himself on piano, along with Romanian violinist Icob Maciuca and banduist Damian Voretic as soloists-, they clearly express A program that reflects in its stylistic diversity the complexity found in the label “contemporary”.. “The central idea of ​​this program is precisely that it reflects the eclectic panorama of our composers,” says Maas in conversation with. Page 12. “In a way, we present a sample of the trends, styles and influences that characterize the aesthetics of these Argentine composers today,” the director adds.

If the idea of ​​contemporaneity applied to music opens up an almost infinite series of possible variants, Perhaps the mystery of the “Argentine composer,” between diaspora and possessions, is a greater mystery. “Beyond these definitions, the interesting thing is that there are composers who approach their works from different places without bias, composing in diverse ways, and with correct narratives. Because beyond the aesthetic direction, the special thing is that these works are very powerful,” Maas says.

the Contemporary diversity What the program proposes begins to be published mytha job Daniel D’Adamo – Born in Buenos Aires in 1966 and living in France since 1992 – Commissioned by the French Ministry of Culture and Communications and premiered in Nice in 2021. “D’Adamo is a composer close to the traditional avant-garde of the 20th century and myth “It is an outstanding academic work. It reflects the search for the typical color of French music, through abundant orchestration, organized into sound palettes, without necessarily being spectral,” explains Maas. “Because of the peculiarities of language, it is a difficult task to agree on. The composer works with instrument groups that he combines in different ways, with a very colorful use of rhythm. For the director, it’s about explaining the keys to grouping, arranging, balancing, and highlighting those colors.

starting from Circular effects By BorgesRibovi – currently residing in the United States – came up with his idea Apotheolips, the orchestral version of the work originally composed for Quattrotango Quartet and premiered last June by the Pachuca Philharmonic Orchestra. “This is, let’s say, a new romantic work, very different from the previous one,” Maas highlights. “With a smaller orchestra and traditional use of orchestral color, it is expressed like a passacaglia, with solo violin, playing an interesting work of chromatic development. It is a great challenge that shows how to compose a work that is constantly varied, without being strictly structured as ‘theme and variations’.”

Also based in France since 1992, Jerez Le Cam has been working for years and with different groups on the synchronization of tango and Balkan folklore. Almafuerte shelter It is a musical work for piano trio, violin, bandoneon and orchestra. “Jerez Le Cam represents another aspect regarding possible intersections based on citizen music. This work features a trio as soloist, which dialogues with a well-crafted symphonic plot. “With solo moments, concerto passages and a very well-defined narrative arc,” explains Maas.

About to turn 37, Maas currently serves as principal conductor of the Rosario County Symphony Orchestra.after passing through the Mar del Plata Symphony Orchestra and the Municipal Symphony 3 de Febrero. It emerged among young directors Who recently had the opportunity to conduct the National Symphony, he stresses that he feels part of a generation that must somehow conclude a process of profound changes in the profession. “I remember when Ligia Amadeo took over the directing task at the first Argerich festivals, at that time she was the only director and that is why the event was such a great event. Today we have normalized the presence of female conductors, and in Argentina we have many high-level female conductors“, for example. “Those of us approaching forty have among us a strong network of references in older people. Personally, I feel very much reflected in middle-generation directors, like Alejo Pérez. This is typical.