Horacio Lavandera in Mercedes invited everyone to be part of a musical journey between the eternal and the contemporary. This Saturday, May 31st, the renowned Argentine pianist offered a memorable concert in the auditorium of the Colegio Nacional Florentino Ameghino, as part of the Pro Arte Mercedes series. The recital, titled “Sounds of the Eternal,” combined classical works with rock and pop arrangements, reflecting Lavandera’s versatility and artistic depth.

Born in Buenos Aires in 1984, Horacio Lavandera is considered one of the most outstanding pianists of his generation. At 16, he won the 3rd Umberto Micheli International Piano Competition at the Teatro alla Scala in Milan, the youngest competitor to ever win this prestigious award. Since then, he has performed on important stages in the Americas, Europe, and Asia, and has collaborated with contemporary composers such as Karlheinz Stockhausen and Mauricio Kagel. In addition to his international career, Lavandera has received numerous awards, including the Konex Prize in 2009 as one of the best classical music performers of the decade.

After the concert in Mercedes, Lavandera spoke with Noticias Mercedinas about his experience in the city and his artistic approach.

Is this your first time in Mercedes?

Yes, it’s my first time in Mercedes.

During the concert, you mentioned that one of the pieces was a summary of universal music. Can you tell us more?

Of course, it’s a quote by Hans von Bülow about the last three variations of Beethoven’s Diabelli Variations. One is a very lamenting, very painful long piece; then there’s a brilliant fugue, like the creation of the universe; and finally, a minuet that portrays his Immortal Beloved. The second part has a lot to do with eternity.

What did you think of the former Colegio Nacional auditorium, the audience, the piano?

It’s marvelous. The hall has exceptional acoustics, comparable to the best venues in Europe. I lived there for 17 years, so I know what I’m talking about. The piano, also a marvel.

What did your father, also a musician, José María Lavandera, mean to your artistic life?

Until his death in 2020, he was always with me. Even weeks before his passing, he made detailed observations about my playing. He influenced me from a very young age, especially accompanying me from the age of 12.

Why do you mix rock with classical music in your concerts?

It was an idea that came up last year in conversation with my manager. It’s the first time I’ve played rock, which requires a different technical preparation. I’ve always sought to contrast classical music with other genres, and now I do it more consciously as a personal signature.

Beyond this approach, which seems novel for a classical music performer, it’s worth noting that Lavandera wins over many through social media, which he values ​​as a space for connection and communication, beyond how brief or ephemeral messages there can be, which contrasts with a concert.

How does the connection arise between a 40-minute piece and a few-second Instagram post that you can make on your social networks?

I think of the total work of art, a concept from Richard Wagner. Today, the concert doesn’t begin and end on stage; it begins months beforehand with the construction of social media. I use all the tools available to communicate my artistic message.

Horacio Lavandera’s concert in Mercedes was not only a showcase of musical virtuosity, but also an exploration of the connection between different genres and eras, reaffirming his commitment to a comprehensive and contemporary artistic approach.

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