CER directors in chronological order

When, at the end of 1941, and on the basis of a choir that had been formed for an occasional purpose, he was able to crystallize the idea of ​​giving it continuity, stabilizing it, the choice of director did not offer any difficulty. Maestro Ricardo Engelbrecht had officiated as the preparer of that choral ensemble that was presented under the orders of the French maestro Albert Wolff, so that he was judged the most suitable to continue the work or rather, start it, since the choir participants , enthusiastic about what they had experienced -the friendly cordiality and the joy of solidarity derived from the fact of singing together- they decided to form a civil association with statute and regulations to govern and discipline themselves.

Maestro Engelbrecht, first director of the Rosario Stable Choir, had studied at the State Academy of Munich, his hometown, collaborating with world-famous composers such as Richard Strauss and Hans Pfitzner and later working under the guidance of the famous director Félix Weinghartner, in Switzerland.

As a conductor in operas, symphonic and chamber concerts, he toured several countries, including France and Austria. The prevailing situation in Germany in the mid-1930s and 40s brought him to Argentina, whose musical movement he immediately joined. He conducted the SODRE orchestra in Montevideo, the AGMA (General Association of Argentine Musicians) orchestra in Buenos Aires and recorded for the "Víctor" label. Based in Rosario, he frequently directed the Philharmonic Society Orchestra and was artistic director of the Argentine Conservatory. Parallel to these activities, he continued with musical composition.

Under the direction of Maestro Engelbrecht, the CER immediately became an important place in the musical activity of our city, holding the first auditions of a large number of symphonic-choral works, since only works of these characteristics were studied. That was how, until his return to Germany in 1946, the following were heard for the first time in Rosario: Mozart's Requiem, Haendel's "Judas Macabeo" oratorio, the Magnificat and Juan Sebastián Bach's cantata No. 4, the Psalm Hungáro de Kodaly and Las Campanas de J. B. Massa.

The removal of Maestro Engelbrecht presented a serious problem to the Stable Choir: his successor. Not being a for-profit entity and not counting for its support with other resources than the modest fees of the active members and some adherents, it was not in a position to offer a paid director position. After multiple queries and doubts, this direction was offered to Cristián Hernández Larguía who, logically, could not present a "resume" like that of his predecessor, although he had a background as director of small choral groups and appeared backed by his great passion for music. and for his incorruptible good taste in the choice of works. With the decline of the symphony orchestras that Rosario had at that time until later extinction, the new director had a task of great responsibility in facing a radical change in the orientation of the CER, until then dedicated to symphonic-choral works, taking it towards the "a cappella singing". The beginnings were difficult and there were times when discouragement spread even among those most determined to carry out the work.

Above all, the fighting spirit and tenacity of Cristían Hernández Larguia, his intelligence and his artistic sensitivity prevailed. It was a true joint effort since, after the first setbacks, the director and the choir were affirming themselves, showing continuous progress and refining their expressive means, which led the CER to obtain consecrating distinctions that placed it among the best in the country at the same time. time that if teacher - never satisfied with the results obtained - deepening studies on music and choral activity and in a plan of constant improvement, he has come to stand out as an excellent choir director, especially after having ratified it with the performances he had at the head of the CER in several festivals in Argentina and Chile and in the Choir Contest held in Buenos Aires in 1957.

Hernández Larguía has not limited his action to directing the Rosario Stable Choir. He has tried to spread choral singing in towns that lacked choirs. On numerous occasions his visits with the CER were followed by the birth of a choral group in these urban centers, which has been a source of renewed satisfaction for this director who devotes himself to the art of music with such fervor and enthusiasm.

He studied a Bachelor of Composition at the UNR School of Music. She studied Choral Direction with Mtro Julio Fainguersch.
Through competition, she obtained a biennial scholarship, granted by Fundación Antorchas, to study with Mtros: Ernesto Epstein, Mario Videla, Guillermo Scarabino, Gullermo Opitz, Gerardo Gandini and Federico Monjeaux.
He took improvement courses with the Mtros: Robert Sund, Wemer Pfaff, Carlos López Puccio, Sergio Siminovich and Alberto Balzanelli.
Since 1982 she has been director of the Children's Group of the Rosario Stable Choir.
Since 2002, she has taught Choral Direction I and II, Singing I and II, and Musical Language at the Juan B. Masa Municipal School of Music.
From November 2011 to December 2015 she directed the Rosario Stable Choir.

He studied at the School of Music of the Faculty of Humanities and Arts (UNR) since 1996; Degrees in "Piano" (Prof. Licia Bernard de Parodi, 1996 to 1999), "Choral Direction" (Prof. Néstor Zadoff 2000 to 2004) and "Musical Composition" (Prof. Jorge Molina, from 2001 to 2005). She is currently and since 2002 she is part of the teaching staff of said house for the Degree in Choral Direction.

Her activity began as a chorus girl and Assistant Director of the Mtro. M. A. Solagna, since 1995 in the Stable Choir of Fray Luis Beltrán, and since 1998 in the Ars Nova Ensemble of Rosario.

She attended a large number of Courses and Seminars. She is perfecting Choral and Orchestral Direction, with Masters such as Cristián Hernández Larguía, Vilma Gorini de Teseo, Carlos Cuesta, Alberto Balzanelli, Fernando Ciraolo, Juan Rodríguez and Jorge Rotter among others. And Composition of Choral Arrangements with Masters such as Eduardo Ferruadi, E. "Chino" Correa and V. Tabbush, among others.

She signed the Founding Act of ADICORA (Córdoba, March 2003), she has been in charge of almost twenty choirs. Some of them he founded, such as the Children's Choir of the Verdi Theater of the City of Cañada de Gómez, and the ambitious Rosario Verbali Music Choral Study Group project, awarded a Special Mention in the ANSILTA 2010 Contest, and belonging to the group of choirs specialized in polyphony "La Sociedad de los Cuatro Coros" founded by Mtro Cristián Hernández Larguía in 2007.

But the bulk of his experience in the field of conducting, he has been at the head of prestigious institutions already founded, such as the "Ars Nova de Rosario Youth Choir" continuing the work of Mtro. Marcelo Stocco (1999 to 2007); the Choir of the "Club Gimnasia y Esgrima de Rosario" continuing the work of the Mtro. Nestor Mozzoni (2001 to 2003); the Open Vocal Group of Cañada de Gómez continuing the work of the Mtro. Miguel Angel Solagna (since 2001); The "Anselm Clavé" choir of the Center Catalá of Rosario continuing the work of Mtro. Mario Zeppa (from 2014 to 2020); and perhaps the highest responsibility acquired so far, the leadership between 2012 and 2014, of the University Choir of the City of San Juan, a body rented from a large and constant protocol schedule to Cappella and Choral Symphony, continuing the work of teachers such as Lucía Vallessi , Guillermo Tessone, and of course, its legendary founder, Maestro Juan Argentino Petrachinni.

As of July 2019, he is the Titular Artistic Director of the Rosario Stable Choir.