The renowned Chilean composer, Miguel Farías, premiered yesterday at Municipal de Santiago a Nocturno that was the prelude of the seventh symphony of Gustav Mahler. The concert was directed by Paolo Bortolameolli.
The assistants of the Municipal of Santiago were expectant, the renowned Chilean music director, who right now is the assistant director of the Philarmonic Orchestra of Los Ángeles, was in the country again, this time to present the premiere of Farías and the complex symphony by Mahler.
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Paolo Bortolameolli comes on stage and strangely he has a microphone in his hand, with him he goes to the audience to explain Mahler’s work. To explain how this post-romantic is in a period of musical transition that is absolutely understandable thanks to the 7th symphony, which is usually considered the “least Mahlerian of all”. However, in the words of Bortolameolli, it would justly be the most Mahlerian because it explains this historical transition in the world of composition between post-romanticism and what will be composed later, in the 20th century.
The direction of Paolo, in the words of several Chilean composers who attended the show, “was impeccable, his energy and impetus as director was highlighted”. And definitely the experience of someone who has directed this symphony more than once.
On the other hand, the Nocturno of Miguel Farías was a success as a prelude to the work of Mahler, in such a way that a closed and coherent program was generated. This work, close to what was presented by the Chilean composer in 2018 with the Christ of Elqui, was again a success in relation to the audience to which it is addressed, without ceasing to be a proposition and to consistently pick up the Mahlerian spirit..
This composition does not approach the traditional concept we know of Chopin’s Nocturnes, but rather that it is based on the street night, of the music heard on the street, of the bohemian, of the Latin American nights, as well as the bohemian Austrian for Mahler. This, added to the virtuosity of orchestration, rich in colors, manages to coexist with melodies of deep lyricism.
The relation between the composition of Farías and the work of Mahler, is based on the elements proposed by the German composer in his 7th symphony, but proposing a turn and a rereading of these, from the Latin American perspective, and from the individuality of the composer national.