Pianista portuguesa nacida en Lisboa en Julio de 1944. Cuando tenía tan solo 4 años, ya empezaba a tocar el piano, y 5 años mas tarde ganaba el primer premio en el Concurso de Juventudes Musicales de Portugal. Otro primer premio, el del concurso Elisa Pedroso, tambien, muy importante en su país, le fué concebido en 1958, y dos años mas tarde, recibió dos galardones de proyección internacional de Juventudes Musicales en Berlin y el primer premio del concurso Internacional Frank Liszt celebrado en Lisboa.
Sus evidente aptitudes musicales la hicieron merecedora de una beca de la Fundación Gulbenkian para ampliar su formación en el extranjero, y así, en 1961 empezó a recibir clases en Munich de un prestigioso maestro de pianistas llamado Karl Engel. Pires siempre ha reconocido la importante influencia de este en su carrera, hasta el punto de considerarle como su único profesor. La exquisitez de Pires y el afecto que siente por la música de Mozart y Schubert, su sensibilidad aristocrática a la vez que su indudable alcance poético cuando aborda el pianismo de Chopin y otras características definitorias de su estilo, parten claramente de Engel.
El espaldarazo definitivo a su carrera le llegó en 1970, cuando coincidiendo con el segundo centenario del nacimiento de Beethoven, diversas emisoras de radio organizaron en Bruselas el premio de piano de la UER, que Pires ganó brillantemente. A partir de entonces, fue requerida para actuar en las salas de conciertos de todo el mundo. Se dice de ella que por el tamaño de sus manos, es incapaz de abordar el repertorio mas virtuosístico de la literatura pianística romántica y que por ello se refugia en Mozart, en Schubert y en unos pocos compositores. Es falso. Su afecto por aquello que interpreta es sincero y responde a su caracter y a su personalidad musical, mucho más cercana al mundo lírico que a los fuegos artificiales del virtuosismo técnico.
Pero no puede uno olvidarse que ha grabado obras tan temiblemente técnicas como los dos conciertos para piano de Chopin, o sus Preludios., los cuales, no es que sean precisamente faciles, y que su sabiduria musical, apoyada en un técnica intachable, le permite abordar composiciones en las que grandes pianistas no llegan a dar la talla, como son las últimas sonatas de Schubert, en las que algunos no convencen en lo técnico y otros, lo más, no llegan a penetrar en uno de los mundos musicales más compleos de todo cuanto se ha escrito para piano
Su interés por la música contemporánea es innegable, y así lo ha manifestado en diversas ocasiones, aunque rara vez toca obras de autores recientes, pues siente que "le falta algo, esta desequilibrada, falta equilibrio entre el alma humana por un lado y el infinito, el universo, por otro", cree que "seguir una carrera va en contra de la música", y por ello prefiere dar pocos conciertos, y sobre todo grabar discos, muy exigente con ella misma y con sus colegas músicos, empezó a dedicarse a la música de cámara cuando ya era una interprete plenamente madura, y esto tan sólo porque no había encontrado "los músicos adecuados".Su asociación con su esposo, el violinista Agustín Dumay, ha dado en este campo grabaciones inolvidables del camerísmo clásico y romántico.
Le encanta vivir en el campo, rodeada de su familia y dedicándose al estudio y actividades que, según ella, son un ejercicio fantástico para los dedos, como amasar, porque fortalece los dedos y relaja los músculos del brazo. Las versiones del repertorio chopiniano de Maria Joao Pires son justamente célebres, y su grabación de los Nocturnos del maestro polaco fue un éxito sorprendente. Su pianismo poético y exquisito, equilibrado y lírico a la vez, le viene como anillo al dedo a estas partituras tan maltratadas en ocasiones por excesos subjetivos. La profunda espiritualidad de la pianista y su antidivismo explican porqué rechaza el virtuosismo aparatoso.
Born Portuguese pianist in Lisbon in July, 1944. When it had only 4 years, already it was beginning touching the piano, and 5 years later it was gaining the first prize in the Contest of Musical Youth of Portugal. Another first prize, that of the contest Elisa Pedroso, also, very important in its country, him was concecido in 1958, and two years later, it received two awards of international projection of Musical Youth in Berlin and the first prize of the International contest Frank Liszt celebrated in Lisbon.
Its clear musical aptitudes made her deserving of a scholarship of the Foundation Gulbenkian to extend its formation abroad, and this way, in 1961 it began receiving classes in Munich of a prestigious teacher of pianists called Karl Engel. Pires has always recognized the important influence of this one in its career, up to the point of considering him to be its only teacher. Pires's exquisiteness and the affection that feels for the music of Mozart and Schubert, its aristocratic sensibility simultaneously that its undoubted poetical scope when it tackles the pianismo of Chopin and other characteristics definitorias of its style, they depart clearly from Engel.
The definitive recognition came to him to its career in 1970, when coinciding with the second centenary of the birth of Beethoven, diverse radio stations organized in Brussels the award of piano of the UER, which Pires gained magnificently. Since then, it was needed to act in the rooms of concerts of the whole world. It is said of her that for the size of its hands, it is unable to tackle the repertoire more virtuosístico of the romantic piano literature and that for it shelters in Mozart, in Schubert and in a few composers. It is false. Its affection for what he interprets is sincere and he answers to its character and to its musical personality, much more nearby to the lyric world than to the fireworks of the technical virtuosity.
But one cannot forget that it has recorded works so dreadfully technical like two concerts for Chopin piano,or its Preludes., which, it is not that they are precisely easy, and that its musical knowledge rested on an irreproachable skill, allows him to tackle compositions in which big pianists do not go so far as to give the size, as there are the last sonatas of Schubert, in which some of them do not convince in the technical and different thing, any more, any more compleos of everything do not go so far as to penetrate in one of the musical worlds all that has been written for piano
Its interest in the contemporary music is undeniable, and like that it has shown it in diverse occasions, although rarely it touches works of recent authors, since he feels that "he lacks something, this unbalanced, balance is missing between the human soul on the one hand and the infinite, the universe, for other", he believes that "to continue a career goes against the music", and for it he prefers to give few concerts, and especially to record discs, very demanding with herself and with its musical companions, he began devoting himself to the chamber music when an interpreter was already entirely mature, and this only because it had not found "the suitable musicians".
Her association with its husband, the violinist Agustín Dumay, it has given in this field unforgettable recordings of the classic and romantic camerísmo.
Her association with its husband, the violinist Agustín Dumay, it has given in this field unforgettable recordings of the classic and romantic camerísmo.
He likes to live in the field, surrounded with its family and devoting itself to the study and activities that, according to her, are a fantastic exercise for the fingers, like to kneading, because it strengthens the fingers and relaxes the muscles of the arm.
The versions of the repertoire chopiniano are exactly famous to Maria Joao Pires, and its recording of the Nocturnes of the Polish teacher was a surprising success. Its poetical and exquisite, balanced and lyric pianismo simultaneously, comes to him like ring to the finger to these scores so ill-treated sometimes by subjective excesses. The deep spirituality of the pianist and its antibecoming a star tell that it pushes the pompous virtuosity back.
The versions of the repertoire chopiniano are exactly famous to Maria Joao Pires, and its recording of the Nocturnes of the Polish teacher was a surprising success. Its poetical and exquisite, balanced and lyric pianismo simultaneously, comes to him like ring to the finger to these scores so ill-treated sometimes by subjective excesses. The deep spirituality of the pianist and its antibecoming a star tell that it pushes the pompous virtuosity back.
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