Cecile Licad concede entrevista a José Neistein

Escrito por José Neistein em 19 jul 2011 nas áreas Entrevista

A grande pianista filipina Cecile Licad, um dos nomes em maior evidência hoje no cenário internacional de música clássica concedeu esta entrevista exclusiva.

Cecile será uma das principais atrações este ano no Festival Internacional de Música de Câmara em Santa Fé, Novo México, dentro de três semanas.

 

1. You have been hailed by “The New Yorker” as a pianists’ pianist. That statement certainly encompasses technique and artistry. In your perception, what makes the difference between a great pianist and a great artist?

I would say that a great pianist is someone who has discipline, dedication, and has a unique relationship to the piano that has been developed since his/her training.  I think what sets apart a great artist in this field, however, is two things. The first is just an ability to approach the same piece of music over and over again as if learning it for the first time every time.   The second is the creativity to have a vision before you even sit down at the piano, and then having the chops to execute that vision.

 

2. Your upcoming program in Santa Fé will combine Scriabin and Chopin. Being Scriabin a spiritual and mystical nature, what kind of challenges do his works demand from you? And being Chopin so “spirituel” in the French sense, what are his challenges to you? And how do you harmonize the two of them?

Scriabin can be demanding in the sense that when learning the music, the big picture can sometimes elude you.  Scriabin is of course more contemporary than a composer like Chopin, yet there is still an element of sentimentality and adventure that has to be found in order to play the piece. well  Chopin’s challenges, apart from the technical demands, always depends on how much the performer is willing to emotionally invest in the piece.  There’s a depth to Chopin that takes a lot of energy and effort to explore, and it never gets easier.

 

3.When did you feel deeply the call of the piano, and what made you decide to become a professional pianist?

To be honest I can’t really recall a time in which I made a decision to be a pianist, as there was never really any choice in the matter.  The piano has been a part of my life for so long that there was never any way to imagine life without it.

 

4. Having been both a recitalist and a soloist, how do you perceive the different realities of playing a recital and working with an orchestra? And what are your thoughts of sharing the stage with singers, cellists or violinists in chamber music situations?

The difference is always going to be how much trust or chemistry exists in terms of who you’re working with.  This is not an element that exists when playing solo recitals, you’re pretty much depending on yourself, and there’s only one person to blame if something goes wrong.  So whether playing with an orchestra or a small chamber group, trust and chemistry allows for fun, productive rehearsal time.  Trying things out and experimenting are the best parts of collaborating with other people, and can sometimes be difficult given the limitations on rehearsal time.

 

5. How do you respond as an interpreter to the appeal of contemporary piano music from Pierre Boulez up to younger composers?

Well, obviously Pierre Boulez is one of the greatest composers of the last 50 years, and it is an inspiration to listen to his 12 notations and the way how he reworked it again and again, never happy with what he has reached, a sign of a true genius. Of the younger composers it is as it always has been, many talented ones whose music speaks to me, and some, which I don’t understand, and only time will tell which ones will be remembered as great composers. Oliver Knussen’s music for example might still be remembered in a couple of hundred years, because I think his music is timeless and beautiful, but there are many others who are going to fill the shoes of Bach, Beethoven, Brahms and Boulez…

 

6. You benefited from the teachings of great masters. Now that you are one of them, do you feel likesharing your experience with young aspiring pianists?

I’m not that old yet!  Haha but seriously teaching is something I’ve never thought I would be very good at, but over the years I’ve picked up enough experience that at some point I would love to sit down with pianists who need help in certain areas. I always consider myself a student and I never would see myself as a great master, and neither did Serkin or Horszowski I think.

 

7. Other than your busy schedule, how do you relate to the other arts, and how do they affect you, if at all?

I would say that anytime I see someone who has very obviously spent many hours honing his/her craft, no matter what field or medium, it’s always an inspiration to me and a reminder that all this time I spend learning pieces of music is absolutely worth it.  For example, like most people I love watching movies, and good actors like Al Pacino and Meryl Streep are always sources of inspiration to me.

 

8. How do the social and political realities around the world touch you, and how do they affect your music making, if at all?

I’m not too well versed on the details of politics around the world.  However, my surroundings and my environment always affects my playing and if something political or social affects me emotionally, that will of course be channeled into my playing, whether I want it to or not.

 

9. Do you feel like supporting less known composers by performing their works? And if yes, do you see in such a decision a factor of risk for your professional image?

Absolutely.  If a composer is very obviously talented and capable, I don’t see why how well known this person is should matter.  As far as my professional image, I would think that being seen as someone who is unwilling to risk my professional image…is a bad professional image to have.

 

10. How do you envision the future of the piano beyond the established and standard repertory taking into consideration your experience with audiences the world over?

I think that we should definitely have faith in our audiences in the sense that they  always appreciate and are always looking for something new.  In other words, we shouldn’t disrespect our audience by constantly playing the same things in the same way, expecting them to react in the same way.  As artists I think we should be trying to offer new experiences and perspectives every time we go on stage, and I think that if performers embody this kind of attitude that the future of piano performance will be in good hands.