Ricardo Sciammarella, artistic and musical director of Ensamble Concentus BA, offers us a deep insight into the “Románticos y Revolucionarios” series. In this interview, he talks about the genesis of the project, the selection of works, the musical narrative, and the impact of this type of proposal on the audience. The concerts will take place from June 18 to September 10, and tickets can be purchased at the Teatro Avenida box office or through Ticketek.

By Gabriela Levite

How did the idea for this “Románticos y Revolucionarios” series come about?

The idea arose last year during a lunch, like almost everything in my life. After “Diálogos,” it was logical to follow up with “Románticos y Revolucionarios,” which points in two directions: on one hand, the romantic essence of the sturm und drang in which an aesthetic moment of the so-called Viennese classicism is inscribed, and in particular the music of Franz Joseph Haydn.

On the other hand, the absolutely incontrovertible fact that those three geniuses at the heart of the series were true revolutionaries: Haydn, Mozart, and Beethoven. Without the Jupiter Symphony, there would be no Eroica. Without Haydn’s Symphony No. 104, much of the symphonism that followed (including Beethoven) cannot be understood. And without Mozart’s Requiem, religious music up to the 20th century would have been different. Walton, Britten, or Ligeti, not to mention Twyla Tharp, drew from these abundant sources.

And the other side of the coin is us, Concentus, a romantic and revolutionary project contrary to what is done in our country. The focus of the series, therefore, is three pivotal works of the first Viennese school: Haydn’s Symphony No. 104, Mozart’s Symphony No. 41, and their great heir, the Eroica. Paraphrasing Stefan Zweig, they are three stellar, revolutionary moments in the history of humanity.

What was the criteria for selecting the works?

It was simply about weaving a musical narrative that would lead us directly to the Eroica. Naturally, it is embellished with other musical elements. For example, on May 4, 1795, Haydn premiered the Scena di Berenice and Symphony No. 104 in London. It was evident that we had to perform both works in the same concert. Ending with the Eroica, composed to celebrate the memory of a great man, was the logical corollary, whose obvious antecedent is the Jupiter Symphony, which received this nickname in London. Gluck and his Don Juan have a precedent in the first concert. Last season, the ensemble already ventured into a 19th-century repertoire with the premiere of Juan Crisóstomo de Arriaga’s music at the Teatro Colón, and the move to Beethoven was both necessary and natural.

Each proposal has a strong narrative imprint; how is the work woven between text and music?

I think there should always be a narrative, not only inherent in the music but also as a consequence of it. In this case, it is the natural one proposed by the music we want to present. Each concert addresses a unique aspect that points to the future, but we have also sought to attract the audience from a less academic place without losing sight of authentic history.

There is a stage production; can you give us more details?

No… it’s a secret kept under lock and key. What I can reveal is that it will be very fun and surprising. Without a doubt, a significant evolution from that “Mozart on the Way to Prague.”

Three revolutionary symphonies, a grand dramatic scene in the best romantic style of sturm und drang, two brilliant works from the classic religious repertoire that will move them, a brilliant concert duo, and a fascinating dialogue between music and painting. – Ricardo Sciammarella

Do you think this type of proposal helps attract new audiences?

At least that’s what I hope. On one hand, to attract new audiences who may be regulars in other contexts, showing them that you don’t need to be a connoisseur to appreciate the music of Haydn and Beethoven, you just need to immerse yourself in it as you would with a Beatles song, without falling into easy demagoguery. At the same time, I hope that more knowledgeable audiences can discover a different Haydn, Mozart, and Beethoven, surprising in essence. Especially Haydn, who is pure gold and still very misunderstood today. Removing the patronizing label of “Papa Haydn” is, for me as a musician, a very important goal. Without him, Bruckner or Mahler would not exist. I also think that entering into a dialectical process with our time is fundamental. Not forgetting that art is one and all at once: music, literature, painting, theater… Schumann saw it that way, and so do I. And without art, we are going nowhere as a society. It is the only thing that makes us free and more human.

If you had to describe the difference in interpretation between a current standard instrumental ensemble and Ensamble Concentus BA, what would you say?

I would say that we aim to recover a way of expressing the music of that historical period, seeking to revitalize its colors and its essence. There’s a way of pronouncing, of expressing, of telling this music that extends to Brahms and Wagner, which deserves to be revived. The tempos are more agile, the diction more transparent, the contrasts very pronounced, and the tuning is completely different. Lower, more human, less tense. There’s a lot of research and study behind each of our concerts, akin to restoring a painting and bringing back the colors, luminosity, and brilliance it once had. This, beyond the concept, also helps us to question ourselves as 21st-century individuals, confronting us with our condition as human beings.

Could you provide some words to ensure the audience doesn’t miss out on these proposals?

I’ll summarize it this way: three revolutionary symphonies, a grand dramatic scene in the best romantic style of sturm und drang, two brilliant works from the classic religious repertoire that will move them, a brilliant concert duo, and a fascinating dialogue between music and painting. All this with original 18th-century instruments, for the first time in our country, and other surprises that I won’t reveal but will surely astonish. These are the ingredients that Ensamble Concentus BA offers for this new season of four concerts at the Teatro Avenida titled “Románticos y Revolucionarios.”

If you want to rediscover this brilliant music, if you want to have a special moment, different from what is done in other venues, then you have an appointment with us. We look forward to seeing you at the Teatro Avenida on June 18, July 16, August 15, and September 10. By coming to our concerts, you support art made by Argentinians and for Argentinians. The audience, as it was in the times of Haydn, Mozart, and Beethoven, is our reason for being on stage; without them, we wouldn’t exist.

Could you tell us a bit more about the beginnings of Concentus BA? What inspired you to form this ensemble?

Our beginnings were marked by the COVID-19 pandemic. Initially, we formed a group almost exclusively from the rich pool of musicians dedicated to the Baroque in Argentina. Then, gradually, a stable group was formed that, with very few exceptions, has remained for five years now, giving the ensemble its own way of breathing and producing sound. There’s still much to do, but the more we play, the more we grow. It also greatly helps to have artists who make the ensemble grow artistically, as was the case last year with Maestro Pablo Saravi, who returns this season accompanied by an extraordinary Spanish violinist, Lina Tur Bonet. With them, the group grows artistically. And I hope that in 2025 we can add other great talents to the list, always with the idea of improving the group’s artistic quality.

The reason for being was nothing other than revisiting the composers from the mid-18th century onwards with historically informed criteria, something that is not done in our country. The niche is enormous and there’s a lot to be done, including the recovery of South American heritage. My goal is to gradually reach Brahms, that is, the second half of the 19th century. The biggest problem we face is the instruments; unfortunately, in Argentina, historically informed practice, beyond the so-called late Baroque, was never carried out, and there’s a lack of musicians and instruments. For instance, to perform Mozart’s Requiem, two specialists from Brazil who play basset horn are coming. There are also no fortepianos to delve into Mozart, Beethoven, and even Chopin. The gaps are significant but not insurmountable.

How was the process of bringing together musicians from different places to form the ensemble? What were the main challenges and how did you overcome them?

I believe that talent is not only in the capital city; there’s a lot of talent throughout the country waiting to be valued. Additionally, I believe in the importance of bringing together people from different places and sensibilities as a great source of inspiration, energy, and creativity. There’s not much more to say. Infrastructure problems for bringing musicians from Cordoba, Santiago, Rosario, or Mendoza (not to mention Chileans or Brazilians who want to play with us) in a country as vast and neglected as Argentina are enormous, but imagination, enthusiasm, and the desire to make things happen compensate for many shortcomings that would be unthinkable elsewhere. Not to mention the problem of having a suitable rehearsal space; the ones in the city are both bad and expensive. But we’re gradually addressing these issues.

Since you live in another country and come specifically for the realization of this concert series, how do you handle logistics and coordination for rehearsals and performances?

The first thing we had to consider, in addition to the musicians, was to set up an internal infrastructure to manage each project. Gradually, through trial and error, we’ve built a team of people who work with enormous enthusiasm for the ensemble, that is, for the musicians. I travel three times a year and try to schedule my agenda according to what is being programmed, but I’m also in constant contact with my team; it’s very easy nowadays with the current development of technology. Each task is perfectly delegated, distributed, and coordinated. In other words, Ensamble Concentus BA comprises its musicians and a team that cares for them and accompanies them.

Regarding Concentus’s future, what can you tell us?

Concentus continues after September with a concert in Uruguay and the recording of Arriaga’s first album for a European record label. Naturally, we’re already planning for 2025.
Additionally, thanks to an important agreement we have with the ALLEGRO HD channel, we’re reaching seven South American countries, and for the second year in a row, our recordings have been honored as “Outstanding Event of the Month” by the company’s board. Now you can watch and listen to last year’s Avenida Mozart concert and in June, the premiere of Arriaga’s music that we presented at the Teatro Colón last November. We’re exporting our own version of what is called “country branding”.

Conciertos

The Concentus BA Ensemble, the first Argentine historically informed orchestra dedicated to classicism and romanticism, presents the “Románticos y Revolucionarios” Cycle at the Teatro Avenida. This series of four concerts will begin on June 18 and extend until September 10, with one show per month. Artistically and musically directed by Ricardo Sciammarella, founder of the Concentus BA Ensemble, this proposal promises a unique musical experience.

June 18. “A Viennese in London”
– Works by F.J. Haydn
– Overture from *Armida*
– *Scena di Berenice* (Argentine premiere)
– Symphony No. 104 in D Major “London”
Soloist: Alejandra Malvino
Texts and dramaturgy: Betty Gambartes and Diego Vila
Narrator: Néstor Caniglia
Lighting: Roberto Traferri

July 16. “A Requiem for…”
– Works by W.A. Mozart
– *Requiem K 621*
– *Ave verum corpus*
Choral singing group, director: Nestor Andrenacci
Soloists:
– Silvina Patryna
– Sarah Migliori
– Ricardo Gonzalez Dorrego
– Victor Torres
Texts and dramaturgy: Betty Gambartes and Diego Vila
Narrator: Néstor Caniglia
Lighting: Roberto Traferri

August 15. “Don Juan’s Masks”
– Works by Chr. W. Gluck
– Ballet Suite *Don Juan* (Argentine premiere)
– Works by W.A. Mozart
– *Sinfonia Concertante in E-flat Major K. 364*
– *Symphony in C Major K. 541 “Jupiter”*
Soloists:
Lina Tur Bonet, violin (Spain)
Pablo Saravi, viola

September 10. “Románticos y revolucionarios”
– Works by L.v. Beethoven
– Overture from *Egmont* Op. 84
– Symphony No. 3 in E-flat Major Op. 51 “Eroica”
Images: Eduardo Hoffmann, visual artist

Tickets can be purchased at the theater box office or via Ticketek.