The first day in July had a pleasant summer surprise with the presentation, in the House of the Cultural ALBA, of three chamber groups that, despite their little time on stage, show good taste, nice performance and a will to work hard in favor of the genre.
The stringed quartet Opus 10, by Claude Debussy, opened the performance played by the Stringed Quartet Opus 10, new group that, under the direction of Alberto Denis Galdona, faced the difficult challenge of performing the challenging piece by such a complex composer.
The second and fourth movement were particularly attractive, with complexities going from the synchronized and clever use of the pizzicato to the rhythmic irregularities that floated in the interlaces; cantabile lines, perfectly understood, despite the noisy environment that conspires so much against music. Tuning and the good sense of dynamics were two of the best weapons that defended the performance.
Like an ephemeral performance, but with a good essence, the Trio of Reeds Krhonos offered refreshing popular pieces such as Capullo de Alelí, by Rosendo Ruiz; and Son de la Loma, by Miguel Matamoros, in an instrumental version for oboe, clarinet and fagot by Emilio Presno, and graceful and elegantly performed by its young musicians.
For the end, we could enjoy the performance of the Metals Quintet Habana Brass, directed by the Maestro Igor Corcuera.
With a brilliant sonority (typical in the wind-metal instruments) they offered a magnificent version of a suite from West Side Story, by Leonard Bernstein.
The expertise and mastery of its new and consecrated members, were the elements that contributed to a brilliant and musical execution to the whole extent of the terms. Every musical phrase, every passage and every theme were highlighted with their own sound, in homogeneous alternations by each of its members.
Undoubtedly, the versioned music and the execution of the musicians, caught the essence of the urban New York in the decade of 1950, stated by the North American for his musical premiered in 1957, in Broadway.
For the closing of the concert, the Cuban music returned to the music stands of the metal quintet that played with a fresh air and without greater pretensions than the musical amusement, El manisero, by Moisés Simons, in a version by Díaz Carter.
Chamber eclecticism to please the audience as a good start for the month of July.
Translation by Alberto Morales