Joaquín Achúcarro en Trieste

Achucarro_b(Italia) Trieste se da a conocer al mundo por sus numerosos edificios arquitectónicamente bellos, por el Mar Adriático y sus atardeceres, y por ser una de las ciudades  económicamentemejor posicionadas de Italia. Sin embargo, hay que mirar más allá de estos vislumbres, para encontrar a la Trieste soñadora y creadora. Misma que abre espacios culturales y propone. Una de las asociaciones encargadas de promover la cultura en Trieste es La Sociedad de Conciertos en Trieste (Società dei concerti Trieste), la cual año con año crea una cartelera de conciertos en uno de los numerosos teatros de Trieste “Politeama Rossetti”. Los conciertos son en su mayoría portentosos y de alta calidad. La Sociedad de Conciertos en Trieste trata siempre de mostrar pianistas, cellistas, clarinetistas, violinistas e incluso orquestas; reconocidos todos a nivel internacional.

Este pasado 15 de Febrero fue el turno del pianista Vasco-Español Joaquín Achúcarro. Del cual cabe remarcar la pasión y energía en cada pieza que ejecutaba, y sus breves y significativas anécdotas durante el concierto. De su país natal trajo la música del catalán Isaac Albéniz, máximo exponente del renacimiento musical ibérico en la segunda mitad de los ochocientos. De París al genio musical Maurice Ravel. El pianista contaba del genio e ingenio de Ravel, contó sobre la primera vez que se toco la pieza Valses nobles et sentimentales y como fue tan impactante que al final de la ejecución, el pianista se refirió a su público y dijo que la tocaría una vez más, por si no había quedado clara.

Contaba Achúcarro, que Ravel se inspiró en los poemas de Aloysius Bertrand, creando así Gaspard de la nuit, una composición única y aun más compleja que Ismaley de Balakirev. Esta obra deja un buen sabor de boca, provoca emociones contrastantes, es felicidad y dolor matizados con tal perfección que roba suspiros. La capacidad de transformar metáforas en sonidos es inigualable. Se escucha claramente la melancolía de las campanadas continuas en Le Gibet, así como la armonía de las aguas en Ondine.

Sin duda alguna un concierto que necesitaba no solo de un oído refinado sino también de una mente abierta que dejase entrar todas las novedades que nos son desconocidas. El repertorio de 10 piezas musicales no le fue suficiente al público triestino, el cual logro que el maestro en agradecimiento por un público tan atento tocase tres piezas más. Una de las cuales ejecuto solo con la mano izquierda mostrando una vez más sus habilidades como pianista profesional.

Uno puede ciertamente no saber de armonía o ritmos, y encontrarse en uno de estos conciertos totalmente ignorante de aquello que esta presenciando. Es, sin embargo, vital saber que se está en un proceso de continuo aprendizaje tal como la cultura está en un constante enriquecimiento. La fundación en pro de la cultura de Trieste expresa este paralelismo diciendo que la cultura es como un proceso de germinación –crea continuamente-.

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