Most important that a pianista must consider when facing the pianística technique it is that the fingers must obey to which music suggests to us. The pianísticas schools that impose a rigid technique to us work against our musicalidad to force all our resources to an only technique. Throughout my race I have been able to verify like is not certain that we must prevail an only technique, but that we must adapt it to the work, the piano, our mood. In a same work the technique even can vary to obtain same or the diverse results. Giovanni Nenna , my great Maestro, brilliant interpreter of the suite Iberia de Albéniz, made me notice as the tension of muscles of the arm can vary throughout the same piece, like the position of the wrist and the joint of the fingers.

In an occasion, I, that I have a hand very great?puedo to include one eleventh without problems? the Etude No. 1 of Op. 10 of Chopin (destined to reinforce the extension of the right hand) in the sequence practiced do-sun-do-my, do-sun-do-my, with digitación 1-2-4-5,1-2-4-5, and so on. Memory that, when studying that score, the concertista Lía Cimaglia-Espinosa (my first Maestro) verified strictly my digitación. But when interpreting she herself that Study with its very tiny hands, used the following digitación: 2-1-2-3,2-1-2-3!.

This anecdote makes to us clear that this Etude was not destined to extend the distance between 4° and 5°, since many have considered. It is clear that music can more than the technique. My Teacher, who followed the school of Chopin due to the succession of disciples Chopin - G. Mathias - A. Williams - L. Cimaglia, made change the digitación frequently me to observe the diverse tímbricas possibilities that that can give rise, aside from the same comfort of the execution. It said to the great pianista and Argentine composer Alberto Williams (1862-1952) in his Pensamientos musicales (Musical Thoughts) that the «speed in the execution is only appraised when she is perfect", and that "the greatest ambition of a pianista must be the one to move the listeners».

The technical trainings like scales, arpeggi and other mechanical aids to the technique, do not do more than to damage our musicalidad. When it is not music the one that we have under the fingers, our brain will not know that type of impulse to give them. If, however, we thought about music, the sense of the taste will be illuminated, we will choose what more it pleases to us and this information will be sent of the mind to the fingers, to make it real, audible by all. This favors that in our interpretations we mainly leave a great margin to the espontaneidad, as long as the difficulty of the work us allows it, in the interpretation.

We really must, to control nuestas emotions when we interpreted?. I always admired the pathos emotional that the preceding pianistas to the compact disc were able to communicate to us. Nowadays, the terror to touch erroneous notes so is elevated, that the interpretations are controlled technically until forgetting in question to make music. The modern execution wants that we are clearest and clear possible, that we give all notes, for example, of a romantic work, the same importance, as if it was a work of Mozart. It reproached G. to me Nenna, talking about to a fioritura that makes the piano in the fourth movement of my First Piano Concerto: «Why in this passage all the notes are not heard with clarity, you must execute them simultaneously, as well as you have written them».

I never forgot this brilliant consideration, that memory whenever the emotion urges me the uncontrol. Another one of the great advice of my Masterful one was the form to study. He said to me: «Three are the things that a pianista would not have to never forget: the slow study, the study at separated hands and to emphasize the accents that are difficult to put but easy to clear at the moment of the final execution».

The interpretations that make more obtained will be at the most evoke to the song. If we did not manage to create colors with two notes, we will never be able to obtain a beautiful phrase. In the time of Mozart, melodía and support could follow ways different. «You touch the left hand rigorously on time and do with the right which you want», Mozart wrote in one of its letters. The badly called «puristic» never considered this real form to touch in the classic period, which took to that the result of the interpretations of their disciples was very mechanical, barren and tedious and, however, those of the romantic period, excessively disturbed.     

The fact to obtain the beauty of a musical phrase I consider a process scientific, and the interpretation errors irritate to me with the same intensity that the erroneous notes. The pianistas which they do not «close» the phrases, that execute each module of a progression just as the other, we cannot consider them interpreters, like either those who do not announce the phrases to us, do not touch the apoyaturas weaker than their resolution, does not use the pedal correctly, does not sing, does not capture the attention of the public, does not move.

The piano is a wonderful, complete instrument in all its points of view, independent and faithful to our commando. The piano is also the instrument of the immediate results and –said very well V. Horowitz– «easiest to approach in the beginning, but the most difficult to control in the end». For that reason, we give to this sonorous relic the treatment that is deserved...

Mauricio Annunziata