Concert at the Teatro de Carabineros:
Gustavo Miranda in Artistic Fullness

Currently living in Chile, after many years in the United States, the pianist Gustavo Miranda projects his career from his birth country. Through his local reappearance, in a short time he has offered an ample variety of programs with dazzling results.

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A part of his projects is the complete 35 sonatas for piano by L.V. Beethoven, recently with a new performance, this time in the theater of the Corporación Cultural de Carabineros.

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With a battery of five sonatas, of Beethoven's early and late periods, Miranda showed once again his complete dominance of the Beethovenian world, deploying a remarkable technique in service of the irreproachable idiomaticisms, as well as some surprising liberties.

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He opened with a tremendous version of the Sonata No. 2, Op. 2. No. 2. Although a piece well inscribed in the canons of classicism, innovative features could be glimpsed, especially in the indications of the dynamics and accents. With authority, Miranda was precise in character and style, especially highlighting the clarity of the mesmerizing counterpoint in the second movement.

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Then, the mature Sonata No. 24, Op. 78, "A Thérèse", together with the intermediate No. 15, Op. 28, "Pastoral", ending the first half. The complement between these two chronologically distant pieces is interesting, especially in the case of No. 24, composed after almost five years without approaching piano sonatas, revealing complete maturity within the genre.

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In both, Miranda once again exhibited full technical mastery and comprehension of the piece. The focus of the "Pastoral" is an impressive achievement, offering due kindness of character with a calibrated handling of  the thickness of the sound, intelligent accents, and beauty in phrasing.

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The second part, with another chronological complement, he performed the early Sonata No. 5, Op.10, No. 1, "Little Pathétique" and the extraordinary No. 26, Op. 81, "Les adieux". In the case of the "Little Pathétique", it somehow preludes others, such as the famous "Pathétique" Sonata. And in "Les adieux," a work of complete maturity, he captures a heartbreaking story of emotions from "farewell," the bleakness of "absence" and the joy of "return." With mesmerizing mastery of contrasts, the total assertiveness of the story was reflected, complete clarity of the "internal voices," and thorough mastery of the sonorous proportions.

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In short, a performance that reflected the artistic best of Gustavo Miranda, and without a doubt the best in years of this amazing pianistic talent.