Nov 23 2009
Berta Rojas in concert
Earlier this month I had the pleasure of attending a recital by Paraguayan virtuoso guitarist Berta Rojas, at Bolton Arts Centre, England. This concert was organised by Manchester Guitar Circle.
The concert began with a brief performance by Bolton school advanced guitarist ensemble, playing three works. Then Rojas herself took centre stage, resplendent in all black, with a friendly stage manner, yet always conveying an aura of an artist at work.
The first half of her programme featured various composers, first Vincent Lindsey Clark from south England, who’s short piece ”Laura”, sparkled with vivacity, a high melody over fast moving arpeggio’s. It was good to hear something by Vincent in concert again, and my slight disappointment over the concert having deleted “Five Pictures of Stark” by Vincent from the programme was countered by the delights of Latin American rhythm’s and charm in the following works.
“Pasaje Abierto” by Costa Rican composer Edin Solis features two movements, Preludio and Danza, the latter’s opening section reminiscent of the second movement from Brower’s El Decameron Negro, (the Escape of the Lovers From the Valley of Echo’s)
Berta followed this with a three movement work by Quique Sinesi, “Cancion Hacia Vos”, “Alta Paz”, and “Cielo Abierto”. This charming set from Argentina I have never heard before, the first movement dedicated to the composers son. Engaging melodies and challenging rhythms, featuring tambora effects on the guitar.
Then followed two pieces by Korean composer Byeong Woo Lee. The tender “Mother” followed by “Run”, again both pieces I was hearing for the first time, but after this I am keen to hear more.
To round off the first half of the programme, Berta played two pieces from Brazil by Egberto Gismondi “Frevo” and the very rhythmical “Baiao Malandro”, with again Tambora playing a significant role in the piece, the wood of the guitar being tapped at different points, against a left hand hammer on chord effects.
Agustin Barrios Mangore
The rest of the concert was dedicated to the works of her compatriot Agustin Barrios, who’s works, she tells us, she enjoys playing very much. I don’t think anyone plays Barrios better than Rojas. Not simply because she has an affinity with the legendary Paraguayan guitar master, and has the natural rhythm and idiomatic approach to his music. There must be something in the soul of the performer and composer that creates such a beautiful harmony, making Barrios and Rojas combination such an irresistible force in the music world. Rojas is able to bring out the composers charm, humour and pathos in such a way that, if Barrios himself is looking down, surely he will be very happy to realise his music has such a sympathetic medium of expression.
“Una Limonsna Por El Amor De Dios” tremolo was the opening, a soulful, serene reading given by Rojas, the final notes dying away followed by a long, reverential silence from the audience.
Then came two dances, “Jha Che VAlle” and “Danza Paraguaya”, both joyful celebrations of the composers homeland.
“Vals opus 8 no’s 3 and 4″ came next, almost mandatory for a Barrios recital these two, strangely played in reverse order here, Vals Brilliante before Romantica.
Two brilliant concert studies, the first the famous one in A major, followed by another virtuoso “Symphonic Allegro” are technical challenges not for the faint hearted, dispatched with aplomb by Rojas.
Finally, the famous “La Catedral” (Cathederal) brought this memorable concert to a close, all three movements played, the plaintive, Chopinesque prelude extremely touching. One encore, the Bossa Nova styled “Choro Da Saudade” the first time I’ve heard Rojas play this one, but the piece was given a peerless interpretation, again followed by a long, awed silence from the audience, before a long round of applause.
A very enjoyable concert experience, one I hope to take in next year if the performer returns to England again. She will be very welcome, of this I am certain.
Hello Mark,
That was a great review, confirming that a Rojas concert is one that every music lover should attend, if given the chance.
Most intrigued by the two occasions where the audience waited in silence until well after the piece had ended. To me that suggests something very moving and very special had just taken place.
I’ve also seen a (recorded) performance where the exact opposite has occurred, the audience jumping-in a good 10 seconds before the ending. They just couldn’t wait to express their well-deserved appreciation!
Regards,
Moo.
Thanks Moo. Indeed, those two silences at the end of Limonsna and Choro were indicative of something special having taken place, I believe. I know what you mean about the audience jumping up in adulation, I’ve seen it myself, and it makes me annoyed to be honest, even though the adulation may well be deserved. It most often ruins the point being made by the performer, and moreover, proves they have missed the point altogether, those who have done it.
Rojas has a special appreciation, I feel, of her compatriot Agustin Barrios. It is conveyed in her interpretations. Her CD “Intimate Barrios” is excellent, but in my view she has matured as an artist since that CD. So one day maybe she will record the complete published (so far anywaY) Barrios reportoire.
Many thanks for your continued support Moo