PalmaIt is difficult to write about a concert that was not one as such. The second ‘concert’ of the monograph malherian it became a syncopated reading, or something similar, of Alma Mahler's memoirs. Paragraphs that did not contextualize the music that followed nor contributed anything interesting about either composer, except for the moment where it tells how Mahler forbade Alma from composing again. Although, without clarifying that he later rectified it, nor why he did so, which would have become a Sálvame deluxe in D minor. In any case, if tempo is a fundamental pillar of a composition, someone did not measure it at all. Furthermore, the tedious talk, read in fits and starts, was not in the program, just as there was no mention of the name of the person who became the protagonist of an evening that could have been a good concert. It was already surprising that it began with the reading of a text that did not fit with what would follow, by the string quartet and piano formed by Fabiola Tedesco (violin), King Wojdalska (viola), Zuzanna Sosnowska (cello) and Magí Garcías, at the piano. Promising was the first intervention of the ensemble with the interpretation of the only movement of the Piano quartet in A minor, by Gustav Mahler. A true example of the powerful solidity with which the group exhibited the essential cohesion to be able to enjoy so many and such solid elements in perfect harmony. It is proof that Mahler is very much Mahler, despite being only as a test, as a sketch from when he began his studies at the conservatory.Just after, another philippic arrived, in an exercise of coherence as decontextualized as the previous one, which gave way to the mezzo-soprano Begoña Gómez to perform two Lieder by Alma and two others by Gustav: Die stille Stadt and Bei dir ist es traut, by the former, and Wo die schönen Trompeten blasen and Es sungen drei Engel einen süßen Gesang by the latter. Impeccableperformance, colorful, with volume and consistency, well accompanied by Magí Garcías. We could say it was a brilliant moment, characteristic of the mezzo's voice, if between one Lied and the other, which have a duration of more or less two minutes, they had not included the corresponding bore, of much longer duration, eternal, which eliminated and dynamited any possibility of properly enjoying the subtle compositions.The ‘concert-reading’ concluded with the performance of the Piano Quartet No. 1 in G minor, Op. 25, by Johannes Brahms. Forty magical minutes, without words, a mirage. The quartet once again showed its excellences, which were not few, but overlapped by a structure that did not hold up. It was not that.