Magazine Del Piano

Leer este artículo en español.  Observing this old caricature, we see a faithful representation of the environment that careless parents provide for a child’s practice. A disaster!  A girl trying to practice in the middle of a room where a baby is crying on the floor, her little brother is playing the drum and the trumpet, while, on the other side, the mother is engaged in pleasant conversation and a card game. How many situations like this must be happening somewhere? And this does not only occur with children, but also with adults who attempt to practice in environments full of distractions. How can we concentrate with noise around us, people talking, a television turned on? The learning of any subject cannot be carried out successfully without one hundred percent attention. Any student who wants to progress in their practice needs privacy, intimacy, and silence. They must be in contact with their own perceptions; they need to observe and reflect on what they are doing. Of c...

Read this article in English Observando esta antigua caricatura vemos una fiel representación del ambiente que unos padres inconscientes proporcionan a un niño para sus prácticas. !Un desastre!  Una niña intentado practicar en medio de una sala donde está: un bebe llorando en el suelo, su hermanito tocando el tambor y la trompeta, mientras por otro lado la madre está en amena charla y juego de naipes. ¿Cuántos casos como éste no ocurrirán en algún sitio? y no solo esto pasa en el caso de los niños sino también de adultos que pretenden practicar en un medio lleno de distracciones. ¿Cómo podemos concentrarnos con ruidos alrededor, gente charlando, una televisión encendida?    El aprendizaje de cualquier materia no se puede llevar a cabo satisfactoriamente sin la atención puesta al cien por ciento. Cualquier alumno que quiere progresar en sus prácticas necesita privacidad, intimidad, silencio. Ha de estar en contacto con sus propias percepciones, necesita observar, reflexion...

Leer este artículo en español Ivo Pogorelich: “Machines Have No Talent” These were the words of this brilliant pianist in the Spanish newspaper El País on January 27, 1987. “We are at the end of a millennium, and it is we performers who can make it clear that machines do not contain all the answers. When we confront a work, we offer our own vision. For us, interpretation is about seeking the meaning of things, giving our own reading of life. That is where our power lies in the face of technology. Machines have no talent.” What a pleasure it is to discover the reflections of this extraordinary pianist!

  Read this article in English . Ivo Pogorelich: “Las máquinas no tienen talento” Fueron las palabras de este genial pianista para el periodico español El País el 27 de enero de 1987. "Estamos al final de un milenio y los intérpretes somos los que podemos dejar claro que en las máquinas no se encuentran todas las respuestas. Cuando nos enfrentamos a una obra ofrecemos nuestra propia visión. Interpretar para nosotros es buscar el sentido de las cosas, dar nuestra lectura de la vida. Ahí está nuestro poder frente a la tecnología. Las máquinas no tienen talento” Sin duda a Pogorelich no le falta razón. Que gusto da conocer sus reflexiones!

Teresa Carreño Venezuelan pianist. Caracas, 1853 – New York, 1917. Read this article in spanish. The composer Edvard Grieg, after hearing her perform his Piano Concerto in A minor, said to her: “Madam, I did not know my concerto was so beautiful.” This took place at the Gewandhaus in Leipzig. The New York Times critic Joseph Horowitz, in an interview for his book Conversations with Claudio Arrau (1982): Joseph Horowitz: I know you had a special admiration for Teresa Carreño. Claudio Arrau: Ah! She was a goddess. She had an incredible drive and energy. I believe I never heard anyone fill the old hall of the Berlin Philharmonie with so much sound. Her octaves were fantastic—I think no one today can execute such octaves with that speed and energy. Incredible! The Russian composer Anton Rubinstein called her: “The Empress of the Piano.” This quote appears on the cover of The Etude magazine (1939), where we see a very young Teresa Carreño. Twenty-two years had already passed since her death...

Teresa Carreño performs at the Teatro de la Comedia By then, Teresa was 62 years old and had been invited by the Madrid Philharmonic Society. The Ibero-American magazine Arte Musical, issue no. 9 (May 15, 1915), in its “Madrid Musical” section (fortnightly chronicle), reports: “At the Philharmonic, Teresa Carreño, the great Venezuelan, the lioness of the piano, gave a concert at the Comedia on the 17th of last month; that very night the beautiful theatre burned down, she fell ill, and not until the 10th and 12th of the present month did we have the remaining concerts, held at the Princesa.” “When, in a first-rate virtuoso, the passing years temper the ardor of the spirit without diminishing their faculties, a marvelous case occurs: interpretation acquires such sublime serenity, such inconceivable assurance and perfection, that the music seems to rise pure and free from the instrument, without the intermediary of the artist.” “The inexpressible art of Teresa Carreño remains forever engr...