With a concert dedicated to the early work of Astor Piazzolla, the Kirchner Cultural Center reopened its main hall for live music on Friday. As soon as the sanitary conditions and the provisions in this regard allowed it, the CCK -which in times of pandemic multiplies its functions and is a vaccination center by day-, was ready and with all the precautions in terms of protocols to trace its artistic grid . The cycle dedicated to the centenary of Piazzolla’s birth, which began last March, thus resumed its course in the best way, with the first chapter of the section “Historical Ensembles” and a concert dedicated to what is known in Piazzolian biography as the “Orchestra of ’46”.
That typical orchestra in its formation and reformist in its conception, found its current reflection in a remarkable formation – young, vigorous and with well-placed styles, like that Piazzolla – which had as conductor and lead bandoneon Daniel Ruggero. Santiago Polimeni, Alejandro Guerschberg and Natsuki Nishihara completed the line of fueyes. Also playing were César Rago, Manu Quiroga, Julio Domínguez and Ernestina Inveninato on violins, Elizabeth Ridolfi on viola, Jacqueline Oroc on cello, Fulvio Giraudo on piano and Cristian Basto on double bass.
It is still strange to “come back” shows with audiences in the city changed by the pandemic. There is a false silence, a feeling of crowded loneliness, while walking down Corrientes Avenue, when the winter afternoon removes its lights, the cold adjusts its tientos and the desert saturated with presences is diluted as one reaches the area of the City, where although there is no soul it is perceived that the muscle sleeps and the ambition works. Persists true estrangement Also when you enter the old Post Office building on Sarmiento street and in the hall you will find chairs ready for the vaccination plan, before the blessed fever pistol points its telltale beam and enables entry.
It is also rare to pass silently under the large blue LeParc lamp and when peering from the sides to see the brightness of the sanitary white of the boxes installed to carry out the inoculations and beyond the tables of the certificates. And in the background, in the large square under the Ballena, where there are more chairs, see a stage in which there is live music during the day to accompany the happily vaccinated. Healthy music, it is known, but when it is live, it enlivens. From there, all the stairs of the CCK led to a nightly dose without contraindications of Piazzolla ’46.
The spirit of ’46
The concert, which was broadcast live on CCK’s YouTube channel –Where it is still “hanging”, along with the latest productions of the cultural center to see for free– it began with “Villeguita”. The compact but not rigid sound of the orchestra, the subtle rhythmic scaffolding for the dancers to listen to, the articulated violin solo –the first in a series that Rago masterfully solved throughout the concert– and the end with the bandoneons. packed into variation: there was Piazzolla pulling the Decarian line to undermine with brief but eloquent gestures the foundations of dance order. The arrangements of “Triunfal” and “Prepárense” that Piazzolla made for Troilo signaled the continuity of the concert. There, the dreaded “eraser” with which Pichuco defended his style attacked the sonorous vigor and the instrumental demand, to play on the richness of the counter melody, the nuances, the dialogues and more notable solos.
The repertoire returned to that spirit of the Piazzolla of ’46 with “Juan Manuel Fangio” and “Juan Sebastián Arolas” –Where one of the first chapters of a personal Bachian connection is heard– which was later followed “El recodo”, by Alejandro Junnissi, after “Brown and blue”, “What will come” “Melancólico Buenos Aires”. Topics from a stage after Piazzolla’s initial period, flowers from the seed that was in “Villeguita”. The song dedicated to Mono Villegas, which had started the program, also functioned as an encore, after the Troilean version of “Contrabasing” –With notable work by Basto in “la chancha” – and “Loved land”, by Julio De Caro, while the applause rose with a sanitary distance from an enthusiastic audience that, due to its variety, is difficult to classify.
In the end, that thin and fibrous applause of an audience for thin demand, turns out to be much more than what a chronicle from another era had to explain as “scarce public”, hinting at a form of failure. Today, it is the emblem of a great triumph.