Chiara D´Odorico, through the memory of her homeland, invites us on a journey through Paraguayan academic music for solo piano and four hands. The works feature contrasting styles, with some rooted in folk traditions and others influenced by Impressionism or modernism. We spoke with her about this new recording project and her creative process.

By Gabriela Levite

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– In your previous recordings, you paid tribute to Paraguayan music in both “Purahéi che retãgua” and “Ofrenda a mi tierra”. How did you decide to focus on academic Paraguayan music?

– Focusing on Paraguayan academic music for piano was a process that happened almost naturally. Over the years, I observed the need and lack of materials, both in published scores and recordings. Being outside Paraguay and performing in various venues around the world, I noticed a great unfamiliarity with this music. This gap drove me to take the initiative and embark on a deep investigation to rediscover and bring these works to light.

Most known Paraguayan music is of a folkloric nature, like the famous polkas and guaranias, in addition to having notable classical guitar composers such as Agustín Barrios. However, academic piano music was largely forgotten or lost. I began searching for materials, some of which I already had, others I found along the way, and some were even composed specifically for my recordings.

“I want this music to have wide dissemination and be recognized and appreciated by the musical community and the general public.” – Chiara D´Odorico

– What is your greatest hope for the future of Paraguayan music?

– The main goal of my work has always been to spread this music. I want it to become known and appreciated, to be part of people’s playlists, to be performed in great concert halls, and to be played by other musicians. My dream is for students and teachers in music schools and conservatories to include these works in their repertoire.

Nothing gives me more satisfaction than seeing other musicians perform these pieces. When someone asks me for a score or announces they will be playing one of these works, I feel that Paraguayan music is taking flight. I want this music to have a broad reach and be recognized and appreciated by the musical community and the general public.

– On this occasion, what inspired you to create “AÑORANZA” and how did you select the works that are part of this album?

– “Añoranza” was born from a joint project with Virtuoso Records. They presented the proposal to me, and I immediately felt the need to find new music that needed to be recorded or rediscovered. The name of the album has two important meanings: first, one of the pieces included is called “Añoranza,” a famous guarania by Mauricio Cardozo Ocampo, which represents the traditional folk music of Paraguay. This piece takes me back to memories of my childhood, my family, and my country, which I have lived away from for many years.

On the other hand, “Añoranza” not only evokes nostalgia for my country and childhood but also the desire to keep the connection with Paraguay alive through its music. That is why the album takes a journey through Paraguayan music, from folkloric to more contemporary styles. It starts with the folk guarania that gives the album its name and explores different styles and eras. From traditional rhythms stylized into a more academic language, such as the works of the Italo-Argentine composer José Bragato, to modern and Impressionist pieces by contemporary composers like Nancy Luzko and Javier Acosta. The latter composed “Lembranzas” specifically for the album, breaking away from traditional structures.

Listening to the complete album allows one to feel this musical evolution and journey. Each piece offers a unique perspective, taking the listener through time and different stylistic approaches in Paraguayan music.

 

-You mention that some pieces are unpublished and others were recently recovered. What was the process of discovering and recovering these works?

The process of discovering and recovering these works has been fascinating and full of challenges. For example, I found a manuscript of a work by Carlos Lara Bareiro on YouTube thanks to his son, who brought it to my attention. The composer’s niece, Norma Lara, made a first edition so that I could perform it. It was a real process of discovery, deciphering note by note according to the composer’s indications. I am well-acquainted with his style, as I have performed almost all of his piano works. We are currently recovering his Piano Concerto, which has never been performed, and we hope to premiere it this year.

We worked from the manuscript to a first computer edition, making the necessary revisions before I recorded it. This involves understanding the composer’s language and piecing together a musical puzzle.

Regarding the works of Luis Cáceres Garcete, I worked with a recent first edition and the original manuscript, correcting errors and ensuring that all indications were accurate. The responsibility of being the first to record these pieces is enormous, as my interpretation will be the initial reference until other musicians record them and offer their own versions.

For the two pieces by José Bragato, I worked with the score provided by his daughter. One of the pieces, a polka, was originally written for two pianos. We adapted it for four hands, which is more practical in a recording studio. The other piece, “Luz del corazón,” is a stylized guarania. We worked from a piano and voice score and a home recording, also adapting it for four hands to provide a more pianistic version.

Additionally, the two pieces by Nancy Luzko already have a recording made by the composer herself. My version will be the second, giving a new voice to these works.

-Recovering and recording these unpublished works is not only a source of pride but also a great responsibility, as my interpretation will initially represent these compositions to the world.

-“Lembranças” has a very special meaning for me, both personally and professionally. I have an excellent relationship with its composer, Javier Acosta. We are very close friends, and in fact, it was my idea to ask him to write a piece for me to record on an album. After several years of considering the idea, Javier finally wrote and dedicated this work to me.

The piece is contemporary but accessible to the general public, which makes it especially unique. It is very virtuosic, almost like a toccata at times, using the full range of the piano from the lowest to the highest notes. The first part is very technical and challenging, while the second part calms down a bit, recalling an impressionistic style and evoking a guarania, but always with a contemporary language. Then it returns to a very virtuosic section, full of technical challenges.

For me, it is a great honor and responsibility that a composer writes and dedicates a piece specifically for me and for the album “Añoranza.” It is very exciting to collaborate with a contemporary composer, and this symbiotic relationship is fundamental in music: composers need performers to bring their works to life, and performers need composers to continue enriching our repertoire.

Working with Javier and being able to perform his piece on various stages around the world fills me with joy. “Lembranças” is a very beautiful work, and I hope the audience enjoys listening to it as much as I enjoy performing it.

-How was it working with Argentine pianist David Lonardi on the four-hand adaptations?

When I got access to the two pieces by Bragato, “Mi Retía” and “Luz del Corazón,” I knew right away that I wanted to record and perform them. However, we needed the appropriate scores for this. At that moment, I spoke with pianist David Lonardi, with whom I had worked on several occasions; we even shared a piano studio. I showed him the works, and he gladly accepted the challenge of adapting them for four hands.

We began working on these adaptations with great enthusiasm. David and I have played together in multiple concerts, including a recent tour in the United States and Mexico, where we also performed four-hand pieces. Our collaboration has spanned several years, which greatly facilitated the process.

For the adaptations, David did an excellent initial job, and then we made small adjustments together while practicing, ensuring that each piece sounded as good as possible. It was a true collaborative effort, trying different approaches and adjusting details as the pieces evolved during rehearsals.

The final result was two beautiful versions of Bragato’s works, a discovery that had not been heard before.

-What do you hope listeners will feel or think when they hear “AÑORANZA”?

With “AÑORANZA,” I hope listeners will discover and fall in love with this music. I want them to feel transported to different places and memories and be surprised by the varied musical languages the album contains. Often, it is assumed that a country’s music is limited to its traditional folklore, but this album shows that composers can transcend those boundaries and create works that do not always reflect their origin in an obvious way.

My wish is for this album to serve as an offering to the musical world and, of course, to my beloved Paraguay. I hope that in a few years, when talking about Latin American composers, the names of Carlos Lara, Nancy Luzko, and Juan Carlos Moreno González will be as recognized and respected as those of Ginastera and Guastavino. I want these Paraguayan composers to be valued worldwide and for their works to be widely disseminated. “AÑORANZA” is my contribution to making this happen and a musical gift for all listeners.

-What has been the public’s response to the Paraguayan music you present?

The public’s response has been excellent. Whenever I perform Paraguayan music in Europe or other Latin American countries, it is received with great enthusiasm. This reassures me and confirms that all the effort is worthwhile. The audience is often amazed to discover this new music, which is very gratifying.

While we all love and will continue to perform the great masters like Chopin, Beethoven, and Mozart, it is equally important to promote our Latin American composers. Across Latin America, from Brazil to Argentina, Paraguay, and Bolivia, there are past and present composers who have created and continue to create wonderful music. I believe it is crucial for us, as performers, to export and spread this music.

-Do you have plans for live performances to promote “AÑORANZA”?

Yes, I have several live performances planned to promote “AÑORANZA.” Throughout this year, I have already traveled to several cities in Argentina, including Mendoza, Resistencia, and Mar del Plata. Soon, I have planned trips abroad, to Colombia and Uruguay, with other destinations still to be confirmed.

At the end of the year, I also have a tour planned in Europe. I have been working hard to promote this album, even before its official release, and now, with even more enthusiasm, I will continue to promote it. I am very excited to share “AÑORANZA” with audiences from different parts of the world.