Pablo Saraví: Exploring New Musical and Literary Projects

Violinist Pablo Saraví shares his reflections on his career, the importance of generational renewal in orchestras, and his passion for chamber music. Saraví, who recently retired as associate concertmaster of the Buenos Aires Philharmonic Orchestra after 36 years, is preparing for a concert with Lina Tur Bonet on August 15 as part of the “Romantics and Revolutionaries” series by the Concentus BA Ensemble. Together, they will perform Mozart’s Sinfonia Concertante for Violin and Viola and the “Jupiter” Symphony. Additionally, he continues to explore new musical and literary projects, which he details in this interview.

By Gabriela Levite

What can I listen to while reading the interview? MusicaClasicaBA recommends:

-What do you miss most about your time with the Philharmonic—36 years as Associate Concertmaster? How has the transition been?

-It’s hard to forget a job that I’ve done for so long on a daily basis. In addition to those 36 years as Associate Concertmaster of the Philharmonic, I also had 5 previous years in that orchestra, most of them in a Soloist position next to the Concertmasters. If we add to that 6 more years of professional work in the first violin section of the UNCuyo Symphony Orchestra (Mendoza) before joining the Teatro Colón, it becomes clearer why I decided to retire voluntarily some years before the retirement age. That’s 47 years in an orchestra, lived and worked intensely with great love and passion, but it’s enough. Since I am very demanding of myself professionally, I prefer to retire when I am—at least in my view—at a high point in my abilities and not wait for that to decline. Moreover, it’s necessary for someone younger to take that place because it’s natural for there to be renewal in orchestras.

“Currently, I’m doing very well; it’s been 8 months since my retirement (with an emotional return to the OFBA in July as a special guest), and I consider my decision to have been the right one.” – Pablo Saraví

-What aspects of that work do you remember as the most challenging?

-I must clarify that for me, playing, even the most demanding works, has never really been a problem but rather a pleasure and sometimes a “friendly” challenge. However, in a position like that of Concertmaster, that’s only a third of the job. Another part of the job, which is difficult and more “social” in nature, is trying to maintain order and balance in each section and among colleagues throughout the year, as the Concertmaster is the artistic head, even having authority over the other Soloists. To those two parts, we add a third, which is by far the most complicated and exhausting, especially in a theater like the Colón: I’m referring to the fact that the Concertmaster, although it shouldn’t be this way, has to deal with issues more closely related to union matters, meeting with authorities—most of the time inflexible or unsympathetic, or sometimes both—to beg for very basic things. It’s often depressing, unfair, and discouraging. Because of this last aspect of the position, which wears down any well-intentioned person with the emotions involved in an artistic job, and adding to what I said before (still being at a high point in my abilities), it became easier for me to decide to leave my position at the OFBA.

Having said all this, it’s easy to understand why I don’t miss the work in the orchestra as much, but rather certain masterpieces of the repertoire, working with some excellent conductors, and, of course, some dear colleagues and friends.

-What aspects of your current career do you enjoy most?

-Currently, I’m doing very well; it’s been 8 months since my retirement (with an moving return to the OFBA in July as a special guest), and I consider my decision to have been the right one. This is a phase that I consider very positive and also very fruitful. I have more time available, more energy for personal projects, and more peace of mind when it comes to decision-making since I now decide my entire professional activity myself. This activity is focused on traditional chamber music, especially with the Petrus Quartet and the Bach Academy.

Pablo Saraví

PH Arnaldo Colombaroli-On August 15, you will perform at the Teatro Avenida with the Concentus BA Ensemble. What can you tell us about this presentation within the “Romantics and Revolutionaries” series?

-It’s a series that I consider extremely interesting and important from an artistic standpoint. Last year, I had my first encounter with Concentus BA and Ricardo Sciammarella when we played Mozart’s Concerto K.211 together. It was a wonderful experience, and I greatly value the work Ricardo does leading the ensemble. Concentus BA is the only group in our country of the size of a classical period orchestra, playing as closely as possible to the technical and expressive practices of the classical period and early Romanticism.

They use gut-stringed instruments, classical or late Baroque bows, natural brass, woodwinds constructed according to pre-19th century models, timpani with leather heads, etc. It’s not easy to obtain such materials in Argentina in this quantity, but with willpower, effort, and talent, very good results can be achieved, as we are seeing.

“I’m very excited to play with Lina again, especially such a beautiful piece as Mozart’s Sinfonia Concertante K.364, which I love. And this time, I will do so with the viola, an instrument I adore and have played since I was a child.” – Pablo Saraví

-What are your expectations for working together with Lina Tur Bonet?

-I’ve known Lina since 2017, when she came to Buenos Aires for some recitals. On that occasion, I played a couple of duets with her using historical instruments from the Fernández Blanco Collection. I’ve also heard her at other times, I have several of her recordings, and I hold her in great admiration. She is a very complete artist, as she is equally proficient in Baroque music, which she plays with great virtuosity, warmth, and authority, as she is in music from later periods and contemporary violin. Additionally, she is an excellent teacher, highly regarded, especially in Spain and Germany. I’m very excited to play with Lina again, especially such a beautiful piece as Mozart’s Sinfonia Concertante K.364, which I love. And this time, I will do so with the viola, an instrument I adore and have played since I was a child.

Las Máscaras de Don Juan: Un Viaje Musical de Ensamble Concentus BA


Ensemble Concentus BA
Conductor: Ricardo Sciammarella
Date and time: August 15, 2024, 8:00 p.m.
Teatro Avenida, Avenida de Mayo 1222, CABA
Tickets: Ticketek


-As an expert in violins and author of several books on lutherie, how has your knowledge of lutherie influenced your musical interpretation?

-Knowing the “tool of the trade” in depth, which in the case of musicians is their instruments, opens many doors, sometimes unexpected ones. It has helped me select my instruments better, sometimes discerning their acoustic potential because I have studied the subject of construction in depth.

Also, due to my love for history, I have the privilege of enjoying antique instruments, about which I know something of the life and circumstances of their maker, the city where they lived and its history at that time, the origins of the woods, and sometimes the names of previous owners and their personal and artistic stories. Of course, the audience cannot appreciate this as I do. However, the emotion I feel when using these instruments may be reflected in how I play them, and that feeling, in some mysterious way, might be perceived by those who listen. At least, that’s my hope.

-In addition to your involvement with the Academia Bach in Buenos Aires and the Petrus Quartet, what other projects do you have in mind for the near future?

The Petrus Quartet, besides performing concerts, has a project for recording lesser-known works. As for the Academia Bach, following the death of its founder, Maestro Videla, last year, it is in the process of reorganization. We have concerts planned for August, October, and December, but the novelty is that we will include more instrumental practice aligned with current trends in baroque practice.

From a very early age, I have been captivated by baroque music, with instruments and bows that adhere as closely as possible to historically accurate practices. Thus, I am participating in projects related to this (such as the Academia Bach) and creating new ones, such as a recital at the Fernández Blanco Museum on September 11 with Federico Ciancio on harpsichord. I am also writing a book with content that I believe is interesting for violinists, covering various topics from historical and musical to lutherie, collecting, appraising, and so on.

Certainly, one of the problems I have faced for years is not a lack of projects or enthusiasm, but a lack of time to realize them as I would like (there are always many). Now that I am no longer with the OFBA, I am closer to achieving some of them. But it is always necessary to find balance to be realistic and establish a workable and feasible order. Little by little… or as Miguel Puebla, my first violin teacher, used to say: “working without haste but without pause.”

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