Gustavo Miranda and His Return with the
Orquesta de Cámara de Chile

Starting today and until Friday, the outstanding pianist will take on the Clara Schumann Concerto. The program also includes a premiere by David Gompper.

In August of 2022, after a five-year absence and period of introspection, Gustavo Miranda performed with the Orquesta de Cámara de Chile, interpreting Felix Mendelssohn's Concert No. 1. It was a recital that was highly praised by the public and by the critics, and one which marked his return to local venues.

One year later, the Chilean pianist will reunite with this group that depends on the Ministry of Culture. There are three dates that begin today at 7:30 PM at Parroquia Nuestra Señora del Rosario (Av. Presidente Riesco 6430, Las Condes); tomorrow, at 7 PM at Parroquia San Ramón (Mardoqueo Fernández 100, Providencia); and Friday at 7:30 PM, in Teatro California (Av. Irarrázaval 1562, Ñuñoa.)

Miranda, a star alumnus of the Corporación Amigos del Municipal, will take on the Piano Concerto by Clara Schumann (wife of Robert Schumann.) In the middle of a rehearsal at the Teatro California, he tells "El Mercurio" that it is a "work that I have known for years. It is undoubtedly a very original piece within the repertoire of romantic concerts. Clara wrote it at 14 years of age and it is her only composition for orchestra". He adds that what attracts him most about this concert is that, despite being greatly influenced by Chopin's language, "it never falls into imitation. It does not seek to copy another composer. It has very unique harmonic turns that, at times, remind me of Brahms.

The artist elaborates that the second movement is a Romanza that begins as if it were a Nocturne inserted inside this concerto for piano and orchestra and "magically, within this Nocturne, a cello appears." Along with this, he comments that the third movement has many influences of Chopin's Polonaises and that another of the particularities of this piece is that it starts in A minor, "a somewhat tragic key and ends like this. There is no turning around. It has no mercy. It is a very stormy composition. It is not common, because concertos that start in A minor generally end in A major, with something more optimistic," he says.