The SONUS International Music Festival (SONUS-IMF) presents the Guastavino International Piano Competition 2025 (GIPC), which aims to revolutionize the musical landscape with its focus on the works of Argentine composer Carlos Guastavino and the inclusion of 20th and 21st-century repertoires from the Americas. We spoke with Argentine pianist Lilia Salsano, the newly appointed director of the Executive Committee, to learn more about this initiative.
By Gabriela Levite.
What can I listen to while reading the interview? MusicaClasicaBA recommends:
-Lilia, you recently joined the SONUS executive committee. How do you think your experience will be in this new role, and what motivated you to join the team?
-I am very honored and happy that SONUS has chosen me to be the Director of its Executive Committee. I greatly admire the work they have been doing, especially for highlighting the life and works of one of the great Argentine composers, Carlos Guastavino. I share a great love for his music with all its members, and I am excited about the idea of being in contact with them to continue researching and sharing details of his works.
Although I have the pleasure of having all of his works in my repertoire, as I recorded the Complete Piano Works, I believe that interpretation is a “living” art that changes, evolves, and enriches over the years with the contributions of experiences and exchanges. I am also motivated to be part of SONUS because of the quality of its members, who are musicians, researchers, and specialist teachers full of generosity, creativity, enthusiasm, and perseverance in a work done out of love for the endeavors of musicians around the world.
– The Guastavino International Piano Competition 2025 (GIPC) is a SONUS initiative. What are its main objectives?
– This competition is unique in its characteristics: it is the first international competition in the world dedicated to the piano works of Carlos Guastavino. Its main objective is to draw the attention of pianists from all over the world to this rich, interesting, and artistically high-quality repertoire. Additionally, it aims to renew concert hall repertoires by including works by 20th and 21st-century composers from the Americas. I am sure this will lead to the discovery of great musical treasures by our current musicians and contribute to the growth of our appreciation for the cultural richness of our countries.
I also want to add that the path for musicians dedicated to “Academic Music” is complex, and among all the challenges they face, they can only participate in competitions up to a certain age, which often discourages their continued growth. This competition has no age limit, so I think it will especially empower those pianists who decide to forge a very personal path in their careers, interpreting works that do not usually appear in concert halls and that do not find the necessary resonance to share their art.
– Comparing this edition of the SONUS International Music Festival to the previous one, what new features have been implemented?
– Since its creation in 2020, SONUS has held festivals that have consolidated into two annual events, honoring the birth and death dates of Carlos Guastavino. The project was born in the midst of the pandemic, giving it the characteristic of being asynchronous and online. These festivals grow year by year, attracting artists from all over the world, allowing us to hear musicians from Italy or Istanbul interpreting Guastavino in a fascinating way. Additionally, last year we held the first international composition competition, and this year we have the great achievement of organizing this piano competition.
– How did the idea of holding the GIPC online and with an asynchronous evaluation format come about?
– This is related to the very nature of the Festival’s birth during the pandemic. But there is also an intention for it to be truly inclusive, as many pianists could not afford to travel to the United States.
“Guastavino’s piano works deserve to be increasingly present in music programs in concert halls around the world. This competition will bring this repertoire to the attention of more pianists worldwide, and I am convinced many will fall in love with his art as I have.” – Lilia Salsano
– Carlos Guastavino is a central figure in this competition. What is his importance in the piano repertoire, and what impact do you expect this competition to have on his dissemination?
– I have the great pleasure of having studied and recorded all of his piano works. Moreover, I continuously perform them in my tours “Guastavino GirArgentina” and “Guastavino GiraLatinoamérica” and in the theater-musical show “Esencia Guastavino. Tu corazón, su casa.”
Every day I am more surprised by his unique art, with such a personal touch, with impressive quality and complexity in the writing of his compositions, revealing a true virtuosity in each piece, while never straying from a sensitive, genuine expression with Argentine popular traits (as he liked to say). His pieces are rich for piano interpretation, as well as enjoyable and accessible to the audience, even for those listening for the first time.
Guastavino’s piano works deserve to be increasingly present in music programs in concert halls around the world. This competition will bring this repertoire to the attention of more pianists worldwide, and I am convinced many will fall in love with his art as I have.
– Organizing an international competition presents several challenges. What do you think will be the main challenges?
– Organizing a competition of this nature is very complex. Fortunately, at SONUS, we have Maestra Nancy Roldán, with extensive experience in international competitions, and Maestro Alejandro Cremaschi, who has been exceptional in all the work carried out. I contributed to drafting the rules, a task that took a lot of time and energy but ultimately had a happy outcome. Evaluating the various performances will be an interesting and enriching challenge due to the variety and unfamiliarity of many repertoires.
– The competition is open to pianists of all ages and nationalities. How do you expect this diversity to enrich the event?
– I am sure that the juries will find a chest full of treasures. Wonderful artists will participate, regardless of their age or nationality, and new connections will be formed, weaving networks to continue growing together. Composers will also be delighted to see pianists interested in spreading their works, bringing them to more people.
– Nancy Roldán, founder and artistic director of SONUS-IMF, personally knew Carlos Guastavino. How has her relationship with the composer influenced the organization of the competition?
– Nancy could answer this question better, but I want to share that I met Nancy while I was working on my research – together with playwright and actor Pablo Tibalt – “ESENCIA GUASTAVINO. Tu corazón, su casa.” Her thesis on Guastavino’s “Cantilenas Argentinas” led me to contact her, starting a friendship where we exchanged many ideas and she shared many interesting things about the Maestro. I believe her connection with Guastavino has deeply influenced her dedication to promoting his figure and music, as if carrying the eternal flame of the Olympic Games, ensuring that Guastavino’s work is heard worldwide.
– What kind of programs do you expect to see from the participants and what aspects do you think the juries will highlight in their evaluation?
– I think the programs will be very diverse. Within the rules, there are three important points: one is about choosing those works that the pianist has already mastered, which are traditional repertoire pieces they can select according to their personal taste. Then there are the works, sequenced by category, by Carlos Guastavino, and finally, there are the works by composers from the Americas, many of which I am sure will be a surprise, and I imagine several world premieres. But it may also be that several pianists present already circulating works with a new way of interpreting them. So, I believe that above all, it will be an experience full of great and beautiful surprises.
– What are your expectations regarding the level of the participants and what would you like the pianists to gain from their participation in the GIPC?
– Having observed last year’s composition competition, I am sure that the level of the participants will be fantastic. I hope this competition helps artists to continue growing, believing in, and empowering themselves in their musical endeavors.
– How do you expect the competition to contribute to the professional career of the winners and participants?
– The competition will be a great stimulus for all participants, providing an experience of discovery, learning, and growth for all pianists. Additionally, the winners will have the opportunity to expand their exposure by participating in future SONUS Festivals and remaining in contact with this wonderful community, always full of generosity, building bridges so that everyone can continue growing in their artistic endeavors.
– To conclude, what message would you like to send to potential participants of the Guastavino International Piano Competition 2025?
– First, I recommend that they carefully read the rules as I believe they are well detailed, and if there is something unclear, do not hesitate to contact the email suggested there to resolve any doubts. But above all, I encourage them to participate, to explore these new proposed repertoires, to believe in their own voice, in their own interpretation, which will surely be of interest to the Jury.
-El concurso está abierto a pianistas de todas las edades y nacionalidades. ¿Cómo esperas que esta diversidad enriquezca el evento?
-Estoy segura de que los jurados encontrarán un cofre lleno de tesoros. Se presentarán artistas maravillosos, más allá de su edad o nacionalidad, y se generarán nuevos vínculos que tejerán redes para seguir creciendo juntos. Los compositores también se alegrarán de ver a pianistas interesados en difundir sus obras, llevándolas a más personas.
-Nancy Roldán, fundadora y directora artística de SONUS-IMF, conoció personalmente a Carlos Guastavino. ¿Cómo ha influido su relación con el compositor en la organización del concurso?
-Nancy podría responder mejor esta pregunta, pero me interesa contarte que yo la conocí a Nancy mientras estaba realizando mi investigación -junto al dramaturgo y actor Pablo Tibalt- “ESENCIA GUASTAVINO. Tu corazón, su casa“. Su tesis sobre las “Cantilenas Argentinas” de Guastavino me llevó a contactarla, iniciando una relación de amistad en la que intercambiamos muchas ideas, intercambiamos un montón de pareceres y ella me ha contado muchísimas cosas interesantes acerca del Maestro. Creo que su contacto con Guastavino ha influido profundamente en su dedicación a difundir su figura y música, como si llevara la llama eterna de los Juegos Olímpicos, asegurando que la obra de Guastavino sea escuchada en todo el mundo.
-¿Qué tipo de programas esperas ver de los participantes y qué aspectos crees que destacarán los jurados en su evaluación?
-Creo que los programas serán muy variados. Dentro de las Bases hay tres puntos importantes, uno que tiene que ver con elegir esas obras que hace rato el pianista tiene “en dedo” que son las de repertorio tradicional y que las puede elegir según su gusto personal. Luego están las obras, secuenciadas según cada categoría, de Carlos Guastavino y por último están las obras de autores de las Américas, que estoy segura que muchas van a ser una sorpresa e imagino varios estrenos mundiales. Pero inclusive puede ser que varios pianistas presenten obras que ya están circulando con una nueva manera de interpretarlas. Así que creo que sobre todas las cosas será una experiencia con grandes y hermosas sorpresas.
-¿Qué expectativas tienes respecto al nivel de los participantes y qué te gustaría que los pianistas obtengan de su participación en el GIPC?
-Habiendo observado el concurso de composición del año pasado, estoy segura de que el nivel de los participantes será fantástico. Espero que este concurso ayude a los artistas a seguir creciendo, creyendo y empoderándose en su quehacer musical.
-¿Cómo esperas que el concurso contribuya a la carrera profesional de los ganadores y participantes?
-El concurso será un gran estímulo para todos los participantes, será una experiencia de mucho descubrimiento, aprendizaje y crecimiento para todos los pianistas. A su vez, los ganadores tendrán la posibilidad de ampliar su circulación participando en futuros Festivales del SONUS, y seguir en contacto con esta hermosa comunidad siempre llena de generosidad, tendiendo lazos para que todos puedan seguir creciendo en su quehacer artístico.
-Para finalizar, ¿qué mensaje te gustaría enviar a los potenciales participantes del Concurso Internacional de Piano Guastavino 2025?
-Primero recomendarles que lean bien las bases ya que creo que están bien detalladas, y que si hay algo que no está claro, que no dejen de comunicarse al mail que está sugerido allí para sacarse todas las dudas. Pero por sobre todas las cosas que se animen a presentarse, a indagar en estos nuevos repertorios propuestos, que crean en su propia voz, en su propia interpretación, que seguramente va a ser de interés para el Jurado.
Leer también:
Concurso Internacional de Piano Guastavino 2025 – Música Clásica Buenos Aires (musicaclasica.com.ar)
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