World renowned pianist, Guillermo González marks his first visit to Toronto, and Canada, at the Mooredale Concerts Series this Sunday, March 16th. Born in Tenerife, Spain, González is considered a great specialist of Spanish music, and one of the most important Spanish pianists.
Disciple of José Cubiles, Vlado Perlemuter and Jean Paul Sevilla, Gonzáles studied at the Conservatory of Santa Cruz de Tenerife, and later in Madrid’s Royal Conservatory of Music, and Paris’ Schola Cantorum and Conservatoire Superieur de Musique. In 1998 he published a new version of Albéniz’s Iberia; this edition is considered the definitive source for the performance of this work. His long career has earned him several critical praises, as well as, important awards and honours.
Since this is Señor González’s first visit to our city, I wanted to learn more about him and his work. He graciously answered a few of my questions.
HM: Given your recital at Mooredale Concerts is your first visit to Canada, could you share more about the musical influences that have led you to this point in your career.
G. González: During the time I studied at the National Conservatory in Paris, with maestro Vlado Perlemuter, I interacted with several Canadian students, including the wonderful pianist Claude Savard. He won first place at one of the musical contests in Munich, actually. My formative years were spent in a Francophone environment and I was lucky to assimilate within the impressionist musical artistry thanks to my mentors, Vlado Perlemuter, who studied under Marcel Ciampi — who was very well versed with Maurice Ravel. During this time, I also learned from Jean Paul Sevilla, a mentor, who through Ciampi learned Debussy’s creations first hand. In fact, Sevilla was a piano professor in Ottawa for about twenty years. I suppose you could say I learned within a Hispanic-French environment.
HM: The Pengyou project, which aimed to teach and share Spanish music at the Shanghai Conservatory and China’s Central Conservatory (Beijing) sounds rather amibitious. In your own words, how would you describe its success thus far?
GG: The Pengyou Project began with very high hopes, and its success has even surprised me. I am invited quite frequently to offer ‘master classes’ at the Conservatories, as a master pianist and as an international professor. As such, I feel very humbled they asked me to participate at the concert celebrating the 2008 Olympic games in China, during which I shared the stage with Lang Lang, Philippe Entremont, Liyun Di, among others.
I believe the Chinese public is very welcoming of other cultures. The success Spanish music has in China is in part due to this country’s need to learn to appreciate different types of music. Traditionally, Spanish music has not reached as wide appeal as it deserves. In China, our music has reached a certain notable impact and appeal. From another perspective, piano studies have become widely popular in the last few years. In this context, a pianist who learns to play Spanish music acquires a specialization that make their programmes and classes even more attractive. Spanish music is not only high class but it outstanding for a pianist to master; this is what makes it so outstanding and valuable in China at the moment.
HM: Your publication of Albéniz’s Iberia has been called its most definitive. For those of us who are new to Albéniz and his work, what makes this piece so important to you? And how should we, as a new audience (so to speak), approach this piece?
GG: Albéniz’s Iberia is important not only for me, personally. Debussy was actually obsessed with El Albaicín and Eritaña. Olivier Messaien even said, “Iberia is a marvellous piece for piano, and it perhaps holds the highest place in terms of pieces for such a regal instrument.” Because of this, it has become a staple in the repertoire of greats like Claudio Arrau and Arthur Rubinstein. Thus, creating an even bigger interest for pianist virtuosos like Marc André Hamelin, Lang Lang and Daniel Barenboim. Currently, there are over 50 recordings of Iberia worldwide; it’s of high interest for international pianists.
For me, Iberia is a fountain of pleasure. I listen to it every morning and night, and always find something new that speaks to me. I never tire of going through its music sheets; something that can only happen with a great composer’s work. Iberia is written rather admirably; its synthesis contains a myriad of elements… we find the traditional language of Andalusian music, forms found in popular Spanish music — starting with Renaissance polyphony– the tradition of the Spanish
Vihuelistas, the organ music from the XVIII century (influenced by Domenico Scarlatti), the Romantic Spanish piano, and several influences from the then new-born Flamenco…
If you listen to this piece of music for the first time, you have to understand that this is not Flamenco. In Iberia, you can find many elements that later became part of Flamenco, but these elements are not the essence of this type of music. In some respects, Albéniz’s approach is quite similar to Béla Bartok’s; except that Bartok often uses popular materials from a literal point of view. Albéniz doesn’t do that… What it’s incidental shouldn’t influence the spiritual message, which [in Iberia] ranges from melancholy to drama. These two essential characteristics united with rhythm, and emphasized by a deep expressiveness, are almost painful to experience.You may frequently believe that Spanish music is cheerful in its nature… far from the truth. Spanish cante has drama and it’s deeply sad. You can never forget that Iberia was composed by a dying and exiled man. Happiness is contemplated with homesickness, which adds a veiled pain.
HM: Your many accomplishments aside, what else are you looking forward to in your career? And what else can we look forward to in terms of recordings, or perhaps a return visit to Toronto?
GG: In my career, I always look forward to keep doing what I do and share it with the public. In terms of recordings, I am currently working on recording more of Albéniz’s piano and orchestral pieces. I’m also preparing to record a prodigious production of choral (canto) and piano by Albéniz alongside Celso Albelo — a singer from my hometown who is enjoying great success in his international career. As far as Toronto, it is a great city. If the occasion arises, I would be more than happy to return.
Señor González certainly is a fountain of knowledge, and a true Albéniz expert! I, for one, am looking forward to his performance this weekend. For now, I entice you with this…
Guillermo González
Mooredale Concerts
Sunday, March 16, 2014, 3:15pm
Walter Hall, 80 Queen’s Park Crescent
Tickets, $30, or $20 for under age 30,
Avail. online, or by calling 416-922-3714 ext. 103.
**Special thanks go out to
Daniel G. Rojo of
La Balsa De La Medusa for his invaluable assistance in translating this interview.
