Sergio Escalera Soria, Piano

[Donald Isler]

Sergio Escalera Soria, Piano
Merkin Hall, New York
March 1st, 2024

Debussy: Estampes
Chopin: Sonata No. 2 in B-Flat Minor, Op. 35
Carlos Fariñas: 6 Sones Sencillos
Gustavo Leguizamán/Sergio Escalera: Zamba del Mar, El Sapo Rococo
Manuel Rodríguez: Yaraví, Danza Quechua
Matilde Casazola/Sergio Escalera: De Regreso
Héctor Tosar: Danza Criolla

Sergio Escalera Soria is a wonderful young Bolivian pianist whose playing has spirit, taste and refinement. He played an unusual recital in that the first half had repertoire commonly associated with a "classic classical" program, whereas the second half, with music by Latin American composers, some in transcriptions by the pianist, often sounded more "popular" in nature.

Spoiler alert: he's very good at both!

Already a veteran of concerts in many countries, he is also a prize winner of, among other things, the Frederic Chopin Competition of Latin America and the Claudio Arrau Competition in Chile. He has a Bachelor's degree from the Boston Conservatory of Berklee, where he studied with Michael Lewin, and a Soloist Masters Diploma from the Haute École de Musique of Lausanne (Switzerland). Other significant teachers were Nadia Lapitch, Igor Cognolato, Jorge Luís Prats, and Gustavo Beytelman.

He opened with Pagodes, from Debussy's Estampes. It was elegant and stately. La soirée dans Grenade was languid and emotional. Jardines sous la pluie (Gardens in the Rain), indeed, featured rushing torrents of rain, and was exciting.

By now, two things were obvious: Mr. Escalera always plays with ease, and he never makes a harsh sound at the instrument.

The first movement of the Chopin Sonata was powerful and dramatic. The second movement was sensitive, and the middle section was lyrical. The funeral march was stark, and in the trio section he demonstrated his fine ear and musicianship by playing the repeats softer and particularly beautifully. The last movement, certainly the strangest thing Chopin wrote, as it seems to date from years after Chopin's lifetime, was wild, and abstract, in an Impressionist sort of way.

The second half of the program was all music that was new to me. Though sometimes harmonically adventurous, it was always tonal, and much of it seemed to be based on dance rhythms. Mr. Escalera played it all with exuberance and panache.

There was much charm, and some playful moments in the Sones Sencillos of Fariñas. El Sapo by Leguizamán had jazz rhythms, syncopations, and a quasi basso ostinato. Yaraví, of Rodríguez was longing and sentimental. And the Danza Criolla of Tosar, was wild and joyous.

A funny thing happened at the end of the program. Though the near capacity audience gave Mr. Escalera a standing ovation after the last work, they stopped applauding as soon as he left the stage. Whereupon the house lights were turned on, signaling the end of the concert. But some people kept applauding. Finally enough people were clapping that the lights were turned off again and the pianist returned to the stage to play an encore: El Brincando con Teo by the Brazilian composer, Lea Freire. it was cheery and rollicking, but also featured a thoughtful middle section.

Donald Isler