Clarinet and piano: Brahms, Guastavino, Templeton

Argentine clarinetist Marina López and pianist Eduardo Waisbein offer us a program dedicated to three composers who wrote for this instrumental combination. The Sonatas opus 120 by Johannes Brahms, composed in 1894, are a must for any classical clarinetist. The most appreciated of both is the Sonata Nº 2 in E flat, about whose first movement the outstanding critic Eduard Hanslick commented: "The mail theme seems to come from the sky, from the most beautiful days of youth, full of joy and a sweet crush. Because of this melody, with the clarinet in the beginning, this second sonata is my favorite." Another newspaper -the Musikalisches Wochenblatt- consigned: "The music that Brahms offers us through this two sonatas avoids, probably with all intention, please the crowd. These works will be better appreciated by those who understand their inner beauty and splendor. They will enjoy a spring of pure joy." Beyond distances of time and space, the Sonata for clarinet and piano by the Argentinian Carlos Guastavino, composed in 1970, is probably the most important work of the South American repertoire for these instruments. This work has much in common with the flight of Francis Poulenc, without escaping the constant characteristic of the composer from Santa Fe, bringing together in his own style the traditional European academic discourses with a clearly nationalist and Argentinean aesthetic. The program is completed by two works by Welshman Alec Andrew Templeton (1909-1963), a musician who was very popular in the United States in the 1940s and 1950s, combining academic music with a particular sense of humor, reflected here in the title of his two Pocket-Size Sonatas, that add the participation of Gabriel Waisbein in drums.

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