From the creation of the Fundación El Sonido y El Tiempo Internacional to the celebration of Argentine piano through projects like Pianorama Argentino, its president speaks to us about the values that guide the promotion of music, education, and the fusion between popular and academic music. A journey through the legacy of great artists like Enrique “Mono” Villegas and Saúl Cosentino, who will be honored in two extraordinary concerts at Fundación San Rafael, and the importance of passing knowledge to new generations.
Daniel Goldstein is a pianist, educator, and a passionate advocate for Argentine music. In 1992, he co-founded the Fundación El Sonido y El Tiempo Internacional, a platform that has transcended borders, not only for the promotion of classical music but also for the fusion of academic and popular styles through initiatives such as Pianorama Argentino. His work has been crucial in building bridges between Argentina and the world through concerts, workshops, and festivals featuring the participation of renowned musicians. This year, his collaboration with Fundación San Rafael brings to life two concerts celebrating the legacy of two great exponents of Argentine music: Enrique “Mono” Villegas and Saúl Cosentino.
By Gabriela Levite
What music should you listen to while reading this text? MusicaClasicaBA recommends:
How did the idea of creating Fundación El Sonido y El Tiempo Internacional come about?
The idea to create the Foundation emerged in 1990 when I traveled to Italy to study and refine my skills with the great maestro and pianist Fausto Zadra, who had been a student of maestro Vicente Scaramuzza. Zadra’s school of pianistic refinement, both in Italy and Switzerland, was key in inspiring the creation of the Foundation and had a profound influence on me. His ability to organize and direct the International Center for Musical Studies, which combined group work, educational teaching, and concert organization, greatly impacted me. To me, Fausto Zadra was not only one of the greatest pianists but also a teacher with extraordinary organizational and pedagogical skills.
During those years of study, I experienced something unique: we were groups of 50 or 60 students, and though divided, it allowed me to appreciate the value of collaborative work. Along with two great friends and colleagues, Marco Giovannetti and Simone Pagani, we decided to develop a series of concerts throughout the year that united musical history with live music. Finally, we formalized the Foundation on January 16, 1992.
From its inception, the Foundation aimed to promote music and the artistic concept of the concert, not only in Italy but also in other countries. That same year, I established the Foundation in Buenos Aires, Argentina, marking the beginning of a strong Italo-Argentine connection. Today, 32 years later, the Foundation has grown beyond the concerts and educational activities with which it began. It has become a cultural enterprise that includes festivals, audiovisuals, and various cultural initiatives, including exchanges with institutions, universities, and foundations in the United States and other parts of the world.
Pianorama Argentino is a fusion of popular and academic styles through the piano. What is the value you see in this fusion for Argentine music?
In 1998, we created the space músicos.ar, another of the Foundation’s trademarks, with the goal of developing and promoting Argentine music, both from current composers and those who have passed. Maestro José Bragato, who created the Argentine music archive at SADAIC, was the project’s godfather, and other important figures such as José Luis Castiñeira and Saúl Cosentino also joined, among many others.
By 2011, we decided to reflect the concept of the popular within universal classical music through the piano, based on my pianistic profile and that of those who joined the Foundation’s group work, both in the educational realm and as concert performers. This covered traditional repertoire as well as expressions of tango, folklore, and jazz, which are part of the development of Argentine pianistic culture. Our goal was to highlight not only Argentine music but also Argentine pianists.
A large part of universal music has its roots in popular music, and that is what we seek to highlight. This is how Pianorama Argentino was born, through an initial collaboration between maestro Saúl Cosentino as composer and pianist, and Manuel Fraga as a jazz pianist. The three of us shared the idea of combining the academic with the popular, performing works by Mozart, Beethoven, and Bach alongside Saúl’s tangos and the jazz proposed by Fraga.
Furthermore, we have always had an educational focus, which led us to give concerts, masterclasses, and tours. Over time, many colleagues and friends have joined, such as Diana Lopszyc, Nélida Sánchez, Natalia González Figueroa, Daniela Salinas, Lilián Saba, Graciela Burgués, and others who participated in our classes and concerts. Even colleagues living abroad, like Mirta Herrera in Italy and maestro Alberto Portugheis in England, joined this initiative through virtual connections. This effort has consolidated over the years, and in the last three years, we have established a solid structure of annual workshops, held on a monthly basis.
From this experience, the piano technique workshop was also born, which led us to create the book At the Piano: Mechanics and Sound, which Manuel and I wrote after many years of courses, workshops, and exchanges.
Now, the concerts are focused on Enrique “Mono” Villegas and Saúl Cosentino. What does the musical legacy of these artists represent in Argentine music?
This year, we are presenting two exceptional concerts that are deeply connected to the essence of Pianorama Argentino. The first one, titled “Finding Mono Villegas,” will take place on October 25, featuring Manuel Fraga, Diana Lopszyc, and myself. In this concert, we will perform a repertoire that ranges from classical music to tango, folklore, jazz, and contemporary music.
This concert reflects our concept of fusion between popular and academic music, highlighting how popular expressions are present in music in general.
Mono Villegas was one of Argentina’s great pianists, who perfectly represents what we propose in Pianorama Argentino. Everything we do in terms of mixing classical music, folklore, tango, and jazz, he did by himself. He was a wonderful pianist with incredible creativity, offering avant-garde classical music programs along with jazz piano improvisations, and also integrating folklore music. I had the honor of knowing him personally and listening to him many times in various venues, from the Teatro Colón to jazz or folklore venues, and even in a football stadium. He was a unique cultural figure.
On the other hand, Saúl Cosentino, who is about to turn 90, is also a key figure, especially in tango. He has created wonderful works and was very close to Piazzolla, but he has also composed classical music and even pieces for children.
In short, although these are two separate concerts, the aesthetic of both follows a single concept: to showcase the legacy of these great Argentine artists and highlight the strength of Argentine music. Specifically, these concerts celebrate Argentine pianism, which is highly relevant worldwide.
For more information about the concerts, click here: Pianorama Argentino 2024
What do you hope the audience will take away from these concerts?
We hope that those who attend these events will leave with an enriching experience, as these are concerts that involve the participation of many people and a dynamic stage rotation, with a wide variety of works. While each piece is different, all are very solid and condensed in their composition. What interests us most is for the audience to feel the joy we have in making this music and working together. Group work is one of the foundational pillars of the foundation, as we constantly learn from each other, and the pleasure we feel in playing is what we want to convey to the audience.
We don’t expect the audience to arrive with a deep understanding of the works or feel the need to fully grasp them. These concerts are, above all, a celebration of music around figures like Mono Villegas and Saúl Cosentino. The main goal is for them to feel that we enjoy playing, so that they too can enjoy.
Additionally, having Germán Serain present live allows us to engage more closely with the audience, giving small tips and information about what is being performed, without turning it into a lecture. In the second concert, having the composer himself, as in the case of Saúl Cosentino, is a wonderful experience.
The San Rafael Foundation also plays an important role in organizing these events. What does this collaboration bring to the project?
The collaboration with the San Rafael Foundation and the use of their auditorium came from a recommendation that turned out to be a great decision. Several years ago, we held many concerts in their wonderful auditorium, which has excellent acoustics and a very pleasant hall, in addition to being in a prime location in Buenos Aires. The San Rafael Foundation is not exclusively focused on music, which I found very interesting.
Founded in 1987, its main objective is healthcare with a holistic approach, but it also promotes art and culture as essential pillars for well-being and personal development. This vision aligns perfectly with what we seek in El Sonido y El Tiempo Internacional Foundation. Thus, we have successfully integrated both projects in Pianorama Argentino, combining the concepts of health, art, and culture from both foundations.
The El Sonido y El Tiempo Foundation also offers piano technique workshops. What can you tell us about these training spaces?
In addition to the concerts, it is important to highlight our work in cultural exchange, which includes numerous festivals and audiovisual material to preserve cultural heritage. For example, we created the documentary José Bragato: Partituras de su Vida, which reflects the life of a man who represented 100 years of musical and general culture. We have also explored the legacy of Maestro Vicente Scaramuzza in a documentary where renowned figures such as Daniel Barenboim, Antonio De Raco, Alberto Portugheis, Silvia Kersenbaum, Pedro Ignacio Calderón, Eduardo Delgado, and others appear.
We also have a very important partnership in Spain with the Falla Foundation. The audiovisual content and festivals are integrated with masterclasses, concerts, and talks both in Argentina, Spain, and other countries. These are cultural exchanges that we conduct across different parts of the world.
In recent years, we have developed piano technique workshops, which this year are held in monthly modules with the participation of special guests. One of these takes place at Schultispianos, and another at the National University of the Arts (UNA), both with the option to participate online. The first workshop is based on our book At the Piano: Mechanics and Sound, while the second focuses on improvisation and interpretation, merging classical music, folklore, jazz, and tango—key concepts in Pianorama Argentino. One aspect to highlight is that, historically, classical musicians like Bach were renowned for their improvisation skills, something that has largely been lost in today’s classical music. We aim to revive that art through our workshop.
It is important to note that the modules from both workshops are available for those who wish to access them at any time, even after the date has passed, and they are open to participants worldwide.
What inspired you to dedicate yourself to teaching and promoting music through the foundation?
I believe that “little bug,” as we say, was already inside me. I started teaching at the age of 19, assisting one of my great teachers at the National Conservatory, Beatriz Tabares, who, at 93 years old, has recently passed away (12-9-2024). So, in a way, this is a tribute to her, as she deeply understood my calling and encouraged me to keep going. From that moment on, my dedication to teaching grew more and more.
As the president of the foundation, I always say that it reflects who I am and what I do. I am passionate about working with different people, developing ideas, and carrying out projects together, even with institutions. But it always revolves around teaching, the academic environment, and the artistic side of performing. If you ask me whether I prefer to perform or teach, I would say that both are equally important to me, just like organizing these projects.
Teaching is fundamental because it is a legacy that one can leave behind. Writing a book has been a huge challenge for me, as I had never written one before, and this one, in particular, has a didactic focus. In it, we share the development of in-person classes and very practical aspects, with the goal of effectively transmitting piano knowledge.
