That night we had the privilege to attend an unusual concert. Unusual, because the performer is an outstanding pianist and also apart from the quality, we had the opportunity to listen to authors rarely performed in our concert halls. A concert of American identity: the identity of Marti's thought summarized in clear and categorical concept of "Our America."
Alicia Perea is undoubtedly, a great artist who throughout her distinguished career as a soloist and teacher has been able to articulate a repertoire of virtually all the piano greats. She gave a concert with selected music from the best of Cuban music of this genre.
Alicia explained the reasons of her selection and gave a brief reference of each of the authors that she would interpret, noting that Latin American music has great representatives of our countries: Villa-Lobos in Brazil, Barrios Mangoré in Paraguay, Ponce or Moncayo in Mexico and Lecuona in Cuba.
The program opened with a series of dances of Ignacio Cervantes, romantic author of the nineteenth century and personal friend of Martí. From the author, Alicia offered three works as a suite: Adiós a Cuba (Farewell to Cuba), a classic, but with deep Cuban spirit; Ilusiones perdidas (Lost illusions), melodic and harmonic; and Siempre sí (Yes always) , true musical toy.
The second block brought the figure of the great Ernesto Lecuona, who was present first Preludio en la noche (Prelude at night), work in which the dissonant harmonies make their appearance, with a spirit that made us evoke Debussy with the changes that produce us the pleasant sensation of cobwebs glass, and where Alicia’s technique overflowed in the difficult journey through complicated arpeggios and chords.
Danza Cubana immediately came later, with a first part of deep nationalist and a second in which the work becomes a great delicacy. From Andalusia suite she offered us Cordova, which she portrayed with great sobriety the old capital of the caliphate: sound scenes evoking old courtyards with geraniums and carnations, agile passages that brought to our imagination the great market of the Corredera. The presence of Lecuona closed with Cómo baila el muñeco (How the doll dances) piece of descriptive intention, somewhat abstract, which required an outstanding interpretative technique.
Carlos Fariñas is a contemporary author, but with a work of traditional harmonic cut and finesse. From this author, Alicia gave us first Habanera del ángel (Habanera angel), with choppy rhythm, but harmonic and melodic, and Preludio de Sofía (Sofia Prelude), delicate piece, sweet and heartfelt. In both works the temperament of the artist prevailed.
José María Vitier García is the son of two great poets and friends of ours: the unforgettable CintioVitier and the great poet Fina García Marruz. José María is already well known for his music for Cuban cinema, which have highlighted the incidental music for Fresa y chocolate (Strawberry and Chocolate) and the unforgettable Lucia. From this talented musician, Alicia offered Caballo blanco enamorado (White Horse in love) with rhythm and flavor of country, and then a talented young percussionist named Ruben Gavilán joined her, who with the snare drums would mark masterfully the rhythm Danzon imaginario, melodic and very moving piece, which with the rhythm of percussion acquired a very Cuban spirit that filled the forum of the ancient voices of the quadrille and the son montuno.
The program close with a concert piece widely qualified in the orb: nothing less than the Intermezzo by Manuel M. Ponce, Mexican musician from late romanticism and father of nationalism. Intermezzo requires a delicate fingering that Alice knew solve with great skill.
Loud applause and bravos crowned the performance of Alicia Perea, who has come to our land as a great lady of the piano and a musical ambassador of Cuba. Hopefully we have soon again the pleasure to listen and enjoy another wonderful evening.
