turn Midday parties Subordinate Mozartium argentina The 2025 season concluded with a call that once again validated it. At two o’clock in the afternoon on Wednesday, Argentine Hall Freedom Palace It contained only a few empty seats: a picture that brings together the continuity of a unique tradition in musical life in Buenos Aires.
These concerts have been free and have continued for decades A true thermometer of the cultural vitality of Buenos Airesa city where music continues to find its place in broad daylight.
Closed by Concentus BA assemblydirected by Ricardo Chimarellaa collection dedicated to the historically informed interpretation of eighteenth- and nineteenth-century repertoire. Founded in 2019, the band seeks to restore the sounds and standards of the era, from musical instruments to methods of expression and tuning.
The program brought together two symphonies written at the heart of the classical period: the No. 29 to Mozart and No. 45 to Haydenknown as Farewell. A natural dialogue arises between the two. Not only because Haydn was Mozart’s model and friend, but because both works share Mozart’s traits. Storm and cloudsIt is a style that highlighted drama in the second half of the eighteenth century through intense dynamic contrasts, bold adjustments, and more contrasting language than other contemporary styles.
the Symphony No. 29 Mozart’s opus, composed in 1774, represents one of his first attempts to give the symphonic form a personal voice. In the reading of Consentus, the intelligibility of speech was affected by unstable tuning – something often attributed to the complexities of stringed instruments – and imprecision in the attacks. The slow movement more clearly revealed the points where the group had not yet been able to fully resolve the formal and technical problems of the work.
The group seems to rely more on intention than artistic control. he Allegro con spirito But it turned out in the end, The strongest passage in the concertwith a more defined projection and greater structural rigidity. In rapid movements, a more precise phonetic awareness was realized: active listening and coherence that allowed the material to make sense.
the Symphony No. 45 by Haydn, composed in 1772, was born in a unique context: Prince Nikolaus Esterhazy’s orchestra was at its summer residence in Ezterhazy (Hungary), while the musicians’ families remained in Eisenstadt. The work has been read as a symbolic request to return home, although it is also linked to another version: a protest against possible cuts in the orchestra.
In the last movement The performers leave the stage one by one until only two violins remain. This gesture had an effect: the next day, the prince allowed the return. Chimarella presented it as a work that speaks to the present and can be read by everyone from their place, like a parody or a tragedy. In general, the interpretation faced the same difficulties as Mozart’s work: imprecision, imbalance, and a certain lack of precision in the levels of texture.
he aphorism It was the most fragile point; The speech gradually collapsed, and the balance between shots became irregular. However, in fast movements, the group showed greater ease and a more natural response to the technique. The final gesture, with the gradual withdrawal of the musicians – first the winds, then the strings until the violins remain – closed a proposal that allowed us, whatever its irregularities, to return to one of Haydn’s most inventive and unique pages.
The work was outside the program Fast completion Subordinate Symphony No. 49 By Haydn, an overly ambitious choice, although understandable within the ensemble approach: speed tends to favor him, either because it helps to hide some imbalances or because it allows the projection of an energetic pulse, more effective than refined.
The conclusion of this season’s midday concerts underscored the continuity of a cycle that remains as vital as it is essential to the cultural life of Buenos Aires. The Argentine Mozarteum promises to maintain this tradition next year, along with its 74th season at the Teatro Colón, which will include the presence of Il Pomo d’Oro with Jakub Józef Orlinski, Camerata Salzburg with Maria Dueñas, Philipp Herewegy and András Schiff, among other big names on the international scene.
Argentine mozarteum, midday concerts.
hall: Libertad Palace, Wednesday, November 26.
Concentus BA assembly. address: Ricardo Chimarella.
program: Wolfgang Amadeus Mozart, Symphony No. 29 in major K. 201; Joseph Haydn Symphony No. 45 in F sharp minor, Love. Me: 45, goodbye.