They should definitely be crazy to form a symphony orchestra of electric guitars playing classical music: Sinfonity. For the conjunction, one would be expectant, perhaps, of a symphonic rock. But it could not be defined as such, because what comes out of those guitars is the sound of the untamed tamed.
“We would have liked to be musicians in a symphony orchestra, so we created our own,” said Pablo Luis Salinas, the director, to conclude with the first electric chords the Saturday night at the Mella Theater; Spring chords, opening the Four Seasons, by Antonio Vivaldi.
As the presentation progresses, one finds that the exoticism of the band comes not only from its format, or sound repertoire, but the performance itself: the musicians are seated, lined up in a row. Seated, quiet, classic Renaissance style, not just what one would expect from electric guitarists. And the director, center, seeking the eighteenth century divinity looking at the sky in every solo he plays, keeps losing the style of a rock star.
Interspersed between pieces by Vivaldi, and very in tune with Cuba and the VI Festival of Chamber Music Leo Brouwer, were presented, among others, Estudio semilla and Paisaje cubano, works by the Cuban composer: “It’s our daring, as we have done an improvisation of the Master, “said Salinas,” but in order to not to have him leave where he is to reprove us. ”
For Cuban Landscape, the director invited to the front four of his guitarists: Miguel Losada, Luis Cruz Vivar, Guillermo Guerrero and René Osvaldo Grecco. The rest of Sinfonity joined them, and displaying their Spanish nationality, with classic palms of Flamenco rhythms. It was a work with it own life in the repertoire, even more familiar to the public, who thanked them with concern, perhaps unconscious, generated by moving bodies from the seats.
The Four Seasons tour ends at The Winter, divided as the rest of the tracks, in three movements. A visual accompaniment in the screen also indicates it, although it could not be said to spare, nor is it necessary. The dark, cold environment is perceived in the vibrations of the strings. And one gets by asking, with a symphony composed only by guitars, bass and electric bass, where the sounds of the other instruments like flute or violin, which are hidden, but they are there, they feel strangely recreated.
Between classical and contemporary, the concert left the impression, as Salinas once expressed, that “there is no group as Sinfonity in the world”, universal and unique at the same time.
