This Monday, March 14, I will be presenting a concert comprised of works by L.V. Beethoven, Frédéric Chopin, John Cage and my own, as part of the Piano de Ayer y Piano de Hoy Cycle. Talking about novelty in Beethoven in the 21st century seems to be unnecessary, if not redundant. Even the smallest revolutionary detail of the German composer has been studied in depth, and I don’t think it is necessary to add anything in this regard. In the case of a cycle in which I present such dissimilar works, it seemed appropriate to include Sonata No. 8, Pathetic, as the opening of this concert.
Chopin and his studies for piano are the axis of technical development in the study of the instrument. Including them in a concert program seems to go hand in hand with an exhibition of piano resources; but not in this case. I have selected four studies: op. 10 No. 1, op. 25 No. 1, Op. 25 No. 5 and Op. 25 No. 10, interspersed with short pieces of my own and a little executed work by John Cage. The idea has been to expose contrast in aesthetic terms, without going too far regarding the approach to the instrument. Since the mid-20th century, new music seems to be destined to be accompanied by conceptual explanations, as if this were a remedy for understanding or a fundamental accessory, almost part of the creation itself or of what is presented. I subscribe to this modality when it is necessary, and I believe that many times it is. But if we present a piano program, which already presents the use of the instrument played traditionally (not prepared piano), I do not consider it necessary to delve into theoretical or rudimental questions. In the case of this recital, the piano is played as it was conceived to be played. Probably and in this way, one can imagine that, even if they are original works, nothing new will be presented. Which does become something original: the novelty lies in its very futility.