THE diminutive Marcela Fiorillo, pictured, packs a punch that belies her size. The range of expression she can extract from a piano is quite remarkable, all the way from an almost whisper to a torrent of power.
And in this concert Fiorillo used her pianistic prowess to show conclusively just how of her native Argentina are as tough and resilient as they are soft and sentimental.
The first half of the program was given over to the Australian Premiere of “Mujeres Argentinas” (“Argentine Women”), a cycle of eight songs, written in 1969 by compatriots, composer Ariel Ramirez and lyricist Félix Luna. Each song talks about a woman and her experience, such as Alfonsina, suffering breast cancer and, in anguish, walking and disappearing into the sea, or Guadalupe, whose letters from England never reached her husband in Argentina but were published 150 years later. In all there is a political undertone – a call for freedom.
Each song was introduced by Julia Wee, who painted a vivid picture of each woman’s story. Then Fiorillo accompanied Canberra’s diva soprano, Louise Page, who had assisted with the translations of the songs into English for the printed program. We couldn’t read the program because the lights were turned off, but Page, singing in Spanish, was masterful in bringing to life the pictures of Wee’s introductions.
The second half started with “Three Pieces, Op 6” (1940) by the famed Argentine composer, Alberto Ginastera. These works are quite programmatic, even rhapsodic, but with strong jazz influences, particularly in the chordal structures. “Cuyana” evokes the tranquillity of the Andes, while “Norteña” is pensive and somewhat grumbly but mysterious and “Criolla” takes us to the driving rhythms and syncopations of a joyous South American party. Fiorillo’s interpretations were superb to the point where closing one’s eyes instantly revealed the images she painted.
To conclude the concert, Fiorillo presented the world premiere of her new composition, “Poema Mistico” for piano and percussion. Charles Martin joined her on stage to play chimes and tympani.
The work is in three movements, starting with a brooding “Letania de la Tierra” (“Earth Lethany”), then “Interludio”, which flows straight into “Coral del Nuevo Dia” (“Coral of the New Day”).
Without doubt the work lives up to its title, “Poema Mistico”. It is poetic from beginning to end and mystery has the listener constantly moving forward to the edge of the seat, waiting for the mystery to be resolved. But, I suppose quite reasonably, the resolution is a long time coming, waiting, as the work requires us, until the very end.
For me, the entire work is much like a cadenza – a concluding improvisation – more than a three-movement work, and could quite successfully flow seamlessly through the three movements without any breaks in between.
Both artists performed brilliantly, especially in the frequently abstract entries, timings and rhythms. Fiorillo’s inspired idea to include percussion added lightness and relief to what otherwise might perhaps have been too brooding and dark were it a work just for solo piano.
“Poema Mistico” is an excellent concert piece that tests artistic virtuosity. The capacity audience fully appreciated the quality of the performance delivered so brilliantly by Marcela Fiorillo and Charles Martin.
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