Gustavo Miranda and the Philharmonic Orchestra:
The Gifts Received

Born and raised in Puente Alto, Gustavo Miranda (1991) discovered piano at three years old, in the home of an estate cared for by his family and, after years of study at the Universidad Católica and the Juilliard School of New York, he decided to return and stay in Chile, as opposed to other great national musicians who now live in Europe and the United States.

In just a few years, he has given lucid and solid interpretations of, among others, the 35 Beethoven sonatas, the "Goldberg Variations" by Bach, and its 20th century equivalent, the demanding "The People United Will Never Be Defeated" by Frederic Rzewski, some sonatas by Scriabin - which few dare attempt - and, on Friday, with the Philharmonic Orchestra of Santiago under the direction of Pedro-Pablo Prudencio, at the Teatro Municipal, the great Piano Concert No. 1 (1858) by Brahms. There is a need for interpretive energy and maturity in order to tackle this monumental work, which is as intellectually complex as it is emotional.

Miranda made an impression from the beginning, which started with an explosive timpani from Vania Calvil that was followed by four long minutes in which the orchestra presented what had all the markings of being a great dramatic symphony, if it were not for the fact that piano enters completely pensively and adds to the the tragedy and sadness that appears to have no consolation: Robert Schumann, the artistic father of Brahms, had died two years prior and there are many references to that loss that are features of this piece.

The performer controlled his volume with a very delicate sensibility and, when he played the first theme - with trills in each hand - he brought out all the power that the piano of the Teatro Municipal can still give (which will soon be replaced: the new Steinway has arrived and is acclimatizing prior to its construction.)

The first movement, Maestoso, does not have a cadenza in its own right, but it does have passages in which the piano plays on its own: there, and especially in the deep delivery of the Adagio, Miranda's thoughts sneaked in with phrasing and tempi full of details and good taste. Without wasting a second, the final Rondo began, with a soloist without rest and who was very connected with the orchestra - he looked at the other performers in their moments of prominence, as Martha Argerich usually does - and at his conductor, with whom he achieved a fluid and exquisite version to follow.

After the ovation of a full Municipal - which confirms that Gustavo Miranda is a hit in his country - he offered, as an encore, a good-humored and virtuosic transcription by Stephen Hough for "My Favorite Things" (from "The Sound of Music ",) originally by Richard Rodgers.

The audience was grateful for the gifts received.