In a phenomenal display of talent and artistic maturity, Horacio Lavandera captivated an audience that came to hear perhaps lesser-known pieces by Beethoven, savor some Mahler, be moved by love poems, and liven up the evening with The Beatles and Soda Stereo. Lavandera not only seamlessly blended musical styles so distant in time and space, but also connected deeply with the audience by sharing interesting—and perhaps unknown—facts about the works, even inviting them to participate in some playful musical moments.

The concert began with a section dedicated to Beethoven, though the artist didn’t draw from the classic sonatas or concertos, but rather from variations. First, the audience enjoyed the Seven Variations on God Save the King (WoO 78), followed by the Five Variations on Rule Britannia (WoO 79). It was a pleasant and novel start that preceded the impressive 33 Variations on a Waltz by Diabelli, where Lavandera explored every emotion that such a work can offer.

The second part of the concert featured Alejandro Roemmers, a prominent figure in Argentine literature. With ethereal music composed by Lavandera, the renowned businessman, poet, and playwright recited three of his sonnets: Amor entero (Entire Love), Solo el amor (Only Love), and Tus ojos (Your Eyes). His serene and precise delivery brought a moment of intimate beauty to the program, reflecting the aesthetic affinity both artists share in conceiving art as a vehicle for transcendence.

Next, it was Gustav Mahler’s turn, whom the pianist evoked by sharing anecdotes about his triumphs and failures. The Adagietto from the Fifth Symphony and the Funeral March from its first movement provided the climax, after which, minutes later, the pianist—now dressed appropriately for the occasion—returned to the stage with the Suite on The Beatles, whose sections pay homage to each of the Fab Four, and then with the final movement of the Soda Stereo Sonata.

While in the first instance he drew inspiration from English Baroque composers, in the second, Lavandera’s source was Alberto Ginastera. Lennon and McCartney were present in the andante “Imagine,” the allegro “Eleanor Rigby,” and the moderato “Yesterday,” while Gustavo Cerati’s influence was felt in the allegro “En la ciudad de la furia,” the sonata’s final movement.

Horacio Lavandera’s restless hands brought to the end of the evening, as an encore, an electrifying version of Jerry Lee Lewis’s “Great Balls of Fire,” and near midnight, an early version of the Argentine National Anthem, based on the Luca manuscript. It was almost three vibrant hours, a piano, and a pair of prodigious hands.

Viviana Aubele

October 25, 2025
Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

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