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Welcome back, PianoPod friends and listeners. Today, I am so thrilled to introduce a truly
remarkable artist, Dr. Isabel Perez de Barro, one of the most internationally recognized
Spanish pianists of her generation. She is also a passionate advocate for women composers
and a champion of sustainability in the arts. Isabel's dedication to promoting the music
of women composers, supporting the United Nations sustainable development goals, and
performing a wide range of piano solo repertoire has made her a prominent figure on stages
around the world. So I'd like to share a personal connection to Isabel. First of all, toward
the end of last season of our show, I invited all our listeners to recommend guests for
season five and one of our season one guests, Chantal Balestri, suggested Isabel to be on
our show. So a big shout out to Chantal if you're listening and thank you so much for
taking the time to fill out the guest recommendation form. So anyways, going back to Isabel, I
also had a pleasure of working with her years ago through the Piano Teachers Congress of
New York, which I mentioned quite often during the show. And this was back when Isabel was
living in New York City. So for this reason, I'm very excited to have her with us today
and catch up with her. Anyway, to all our first time listeners and viewers, welcome
to the PianoPod. I am Yukimi Song, a classical pianist and educator and executive producer
of the PianoPod based in New York City. Whether you're pursuing a piano career, working in
the classical music industry or simply passionate about piano music, this podcast is your backstage
pass to the fascinating world of the piano. In our bi-weekly episodes, we have engaging
conversations with guests making waves in the classical music industry. Our mission
is to build a vibrant community that embraces fresh ideas, ensuring classical music stays
alive and relevant in our modern world. If you haven't already, please check out the
introductory episode of season five to get a sense of what's in store this season. And
don't forget, you can catch up on our previous seasons and previous episodes available on
your go-to podcast platforms or on YouTube. Now, let me tell you more about today's extra
ordinary guest, Dr. Isabel de Barro. Isabel is a highly acclaimed Spanish pianist with
an impressive international career. Recently named a, quote, woman to watch in culture,
end quote. She has also been appointed as a visiting professor at the London Performing
Academy of Music. Isabel has performed on some of the most prestigious stages around
the world, including Carnegie Hall, Teatro Colon in Buenos Aires, and Rachmaninoff Hall
at the Moscow Conservatory. Her passion for promoting music by women composers has led
her to initiate projects like Women in Music, for which she won the New York Women Composers
Seed Grant. Isabel has premiered important works such as Clara Schumann's Piano Concerto
at the Palau de la Musica Catalana, and she has performed with leading orchestras, including
the Royal Philharmonic of Galicia. Beyond her work as a performer, Isabel is deeply
committed to contemporary music and sustainability. She has been a featured speaker and performer
at major global events, including at the United Nations, where she links music with the United
Nations Sustainable Development Goals. Her academic credentials are equally impressive,
holding a doctorate from New York University with additional studies in law and sustainability
at Harvard and Cambridge. Isabel continues to inspire through her performances, teaching,
and advocacy for greater representation of women in music worldwide.
So before we dive in, I want to take a moment to thank our amazing TPP fans and loyal listeners
for your continued support. If you enjoy the show, please take a moment to rate and review
it on your favorite podcast platform, because every rating review helps others discover
the show. Now get ready to uncover the secrets behind Dr. Isabel de Barro's remarkable,
multifaceted career as a concert pianist and beyond. Please enjoy the show.
You are listening to the PianoPod, where we talk to the brightest minds in the industry
about how they are bringing the piano into the future and thriving in a complex, ever-evolving
world. Welcome to the PianoPod, Isabel. So great to see you.
So great to see you too. Thank you so much for this opportunity.
Oh, thank you for being here. And how have you been?
Well, I've been great. You know, it's really exciting. I'm in a very exciting period in
my life right now with the release of my new album. We'll discuss that probably later on.
So I'm very happy, very happy and very excited.
And then you mentioned that today is the day? Today, as of October 11th is the day that
your CD came out?
Absolutely. The official release and all platforms. You can also order, you know, physical copies
in Amazon, Mars and Oval. So, yeah, it's there.
Oh, wow. So you know what? Let's start with that. I was going to really give you a little
lengthy introduction, but you know what? Let's just do it. So the new album is called Kaleidoscope.
That's correct.
Can you share more about the programming of this album and the inspiration behind it?
Definitely. So this album gathers women composers from all over the world and they're amazing
works for piano. So I'm very excited to perform works by Gabriela Ortiz, by Yoko Kano, by
Carolyn Morris, by Enkei Rwokoye, by Dobrinka Tabakova, Carmen Rodriguez. Well, you know,
composers from all over the world. And it's so exciting to bring all these influences
together to see how diverse and how beautiful are all these different expressions, musical
expressions for all around the globe and promote contemporary music too, which is something
that it's very important for me. I know it's important for you too. And it's something,
you know, that as performers, I think it's really, really vital. So, yeah, this is the
premise of Kaleidoscope. Diverse cultures, diverse perspectives, diverse musical styles
coming together in this pianistry.
Oh my goodness. Congratulations. And then what motivated you to focus on promoting music
by women around the world? And was there a particular event that sparked your passion
for this cause?
Right. So, you know, it's very interesting because I think this is rather common among
many, many professionals and it's that we discover women composers' works, unfortunately,
rather late in our careers. And that was my case. So, you know, I was actually, I studied
at the conservatory, I started performing and playing when I was three, four years old.
You know, so I've been all my life studying piano. And then I went to New York. I studied
at NYU. I was also an adjunct instructor at NYU. And it was there actually when I was
teaching when a student asked me about women composers, right? And that was such a surprise.
Of course, at the moment I said, yeah, you know, I know many, just, you know, next week
I'll tell you about it. Not many. And it was horrible to realize that, wait a second, have
I played a women composer? Do I have anything in my repertoire? Yeah, I know that Clara
Schumann played his husband works. Is that it? I can believe that's just it. So then
you start researching about it. And that's what happened to me. I started researching
about it. I started doing programs about women composers, also this idea of exchanges, cultural
exchanges around women composers from different countries. So I did exchange programs within
the U.S. and Spain, we went to Spain, Germany, Spain, Portugal. So there, that was the moment
in which I started developing research and a performative career, you know, a parallel
performative career based on actually women composers. I started performing it more, discovering
more of these works and really being surprised and a bit embarrassed in a way and also surprised
about the amazing works that I was finding out that I didn't know about it. And then
I was not educated about it, that I was not told about it. So I saw that the real issue,
you know, that if you're not told about this in the conservatory, in the bachelors, really,
you know, it's so hard to then get to know this pieces. And it was a process of researching
of, of really getting into it and focusing on it. And I'm so happy about all the discoveries,
great discoveries that I found along the way.
Wow. So it was like a few years of maybe research into this.
My research on women composers spans from really a long time. I've done also several
programs starting, you know, probably around 2012, most importantly from 2017 on. And it
was, and this album really came about, I would say around COVID. So in the pandemic, I started
working on that idea. I really wanted to do my first solo album because I had done before
an album on Pauline Viardot. And that was a collaborative program with singers, two
fantastic singers, Anna Tonna, Corinna Feldman, and also a musicologist, Patricia Kleiman.
So you know, I really wanted to say, to focus on my first album. And I wanted to really
think about what would it be about? What am I passionate about? What can I really, you
know, project of my pianistic career and my pianistic interests, right? So I started thinking
about it. I started researching about the composers. I started contacting some of the
composers, which was so exciting and so amazing really, because a lot of times you see these
incredible names, right? Like Tanya León, Julia Wolf, like Gabriella Ortiz, you know,
that you see them every day with the Berlin Philharmonic, with the New York Philharmonic.
And I was beginning, you know, I was scared. I was like, oh my God, I'm going to contact
these people. So nice. All of them have been so supportive. They have been so wonderful.
So their genius is as composers and as people. They're amazing. Oh, wow. Truly a journey
and beautiful one. I mean, that's what women are, right? Like we're all professional yet
humble and then kind. So that makes us who we are. Now, where does this title, Kaleidoscope,
come from? You know, I think the title is about bringing very different pieces that
come together and create an image, right? And that's a bit of the idea. It's that,
you know, there are very different influences. You can see it really in the CD. You can see
influences of Argentinian music, of African rhythms, of Latin rhythms. Like it's all over
the place and you can see all these influences in there. For instance, the Spanish piece
is inspired on a traditional song of my region, which is Calicia. So, you know, you can definitely
sense those influences, those different musical languages that they might seem so different
and so contrasting. But when it comes together, it's a very natural journey. And that's how
I view it. It's really a musical journey with very contrasting materials. But I try that
they move the listener into this beautiful exploration of emotions, of feelings, of different
traditions, of different music, of different rhythms. And that's the idea behind the title,
really.
Oh, great. Now, can you give us like the title of each piece that you perform?
Yes, I hope I don't forget any. But let's start with Nocturne by Dobrinka Tabakova.
Now she's an amazing composer. She's from Bulgaria. She's based in the UK. Very sensitive
piece, very intimate. I mean, like the title, right? Nocturne. Very evocative, full of colors.
Very, very nice. Then we moved to this studio numero tres. That's the etude number three
by Gabriella Ortiz, which is Tour de Force. It's sort of, I don't want to say sort of
like Ligeti, but technically, so you have a sonic image of what it means. But her language
is so personal that it's, she just moves beyond that. And she brings all these Latin rhythms,
these amazing harmonies, these contrasts. It's unbelievable and really an unbelievable
piece. There's also Blue Ocean by Carolyn Morris. Carolyn Morris is an Australian composer.
She is also very well known for her pedagogical work, as well as performative work. And Blue
Ocean is based on her recollections of her childhood, where she was in the ocean road
in Australia. And truly, I think it truly brings you there. Like you can totally imagine
that image. Then there's Claudia Montero's Buenos Aires Despierta y Sueño. So it's based
on Buenos Aires. Unfortunately, Claudia Montero is the only one who's not alive. She passed
away recently. She was a very dear friend and this CD and everything around it is dedicated
to her. Such a beautiful piece, such a beautiful melody, you know, it really stays in your
heart. And it has some elements that you can perfectly recognize, these harmonies from
tango and you know, it's really beautiful.
There's also this a la la, Las Paisasas Vertigais. This is the piece that is based on a song
of my region. This is dedicated to me actually by Carmen Rodriguez, a young composer from
Spain. And she dedicated the piece after listening to me play. As she said, I'm going to compose
a piece based on your way of playing. So that's beautiful because sometimes they dedicate
you a piece and you're like, okay, that's not my favorite style. Let's see what I can
do. But in this case, no, it was very tailored. So this was beautiful. Then there's Tumbao
by Tania León, which is an extraordinary composer and Tumbao is full of this perfect
mix with contemporary music and Latin rhythms. And you know, you just go with it and with
the rhythm in there. It's so beautiful. Then there's improvisation by Suad Bushnath. She's
a Jordan, a Canadian composer. So you can see there are several Arabic scales going
on, but it's a very pianistic, melodic sort of Chopin-esque style, but with these Arabic
components in it, which give it such a flavor, such a beauty, right? And Keiru Okoye's African
sketches. This is Dusk. And I mean, again, it's very much like Buenos Aires in the sense
that it's so evocative or Blue Ocean. You can really go there and you can feel that
you are traveling there to Nigeria. And it's so, so descriptive, such descriptive music.
So beautiful. Then there is, I don't want to force anyone because there are a lot of
pieces. There's of course, Yoko Kanno and Hana Wasako. Beautiful piece. It's dedicated
to the victims of the 2011 earthquake in Japan. So it's a very moving piece. At the same time,
it has a message of resilience. So you have like two parts. One of them is very moving.
And the other one is very, I would say resilience is the word. It has this spirit of moving
on and moving forward and we can overcome anything. And you can see these two contrasting
ideas happening, which it's beautiful. And then we have Kanen Tanaka, who is a Japanese
composer. She's based in Canada and she has this water dance, which again, it's very
crisply and very, you can tell, you know, there's this water influence. And two American
composers, which are Julia Wolf and Carolyn Shaw, as you know them, Pulitzer winners,
you know, Grammy winners. And I'm playing Gustave Le Gray, which is fascinating. He's
truly a journey. That's the longest piece of all city. It's around 13 minutes and it's
based on photographer Gustave Le Gray. And he has a little surprise in the middle. So
I invite everyone to listen to this piece because in the middle, you're going to find
an amazing surprise that you will recognize probably. And so yeah, put it in the comments
if you recognize the surprise there of Gustave Le Gray and also Earring by Julia Wolf, which
represents two worlds. One is more oneric, dreamy, and the other one is very rhythmic.
So they come, you know, they're just coexisting until the end when they merge. And it's a
very beautiful exploration of how these two lines come together. They're so different
at the beginning and then, you know, through the piece, they just come together beautifully.
So I think I have to recommend anyone. But it's, you know, it's fascinating and it has
been such a beautiful process of researching, but also of performing this record.
Right. And producing too. Well done, Isabel. Like sounds like it just contains so much
in one album. And I love the fact that, you know, your album, this album, and also sounds
like your concert programs also seem to carry such specific intentions and themes. And I
actually recently had a pleasure of interviewing Jed Dissler. He's a composer and renowned
music critic, and also he's the very famous radio show host of Between the Keys. Now,
he emphasized the importance of programming so we can sort of compare it to conceptual
art in the visual arts industry, you know. And then so where intention behind how pieces
are curated and presented can transform, you know, not just our lives, but the audience's
experience too. So in your case, how do you approach programming for your album and even
like the past albums you mentioned with singers and performances? Do you have a particular
process of curating works that tell a story, convey a message? How do you think this thoughtful
approach to programming enhances the impact of the music for both you as an artist and
listeners?
Well, I think it's fundamental. And I think many times this is a lesson that is not taught
at conservatories when we are, you know, growing up and studying music. It's so fundamental
because at the end of the day, the audience is going to experience going to attend this
experience too, right? And you have to make sure that emotionally they are experiencing
and they are traveling through their emotions through the program, right? So I think it
has two components, the programming as such. One of them, let's say it's more intellectual
in what is exactly what I want to convey with this program. It's this message of union and
diversity and what comes, the greatness, you know, coming together from all over the world.
How can I convey some matter related with sustainability? How can music enhance that,
the understanding of that or raising awareness? Sometimes it's just about literature. How
can you combine literature with music and how can you present that in a regional way
that you can attract both an audience that is more eager to or more familiarized with
the literature world and the music world? How can you actually make that those audiences
come together? That's first stage. And then the second stage is within the pieces of the
program. So you select the pieces and now a lot of times it's like, okay, let's put
them chronologically or the last name, say order or whatever. And I think that's a big
mistake. And that's something that I actually learned performing other kinds of music. So
I did a little bit of fall too in the past and things like that. And it was very interesting
to see how they plan the show, right? And how they plan the moments. There are big moments
and then moments that are a little bit calmer and then another big moment and how they place
the pieces to make sure that this experience is exciting for the audience. And that's something
that I'm very interested in. And I think really carefully how I'm planning the motions through
the program. And that's something that I sometimes miss, you know, that you see the program,
you can see that that's not well thought and sometimes very heavy on one side or one of
the halves or it's, you know, it's very, it's a little bit difficult to digest. It's beautiful,
but then the experience is a little bit more difficult to actually be, you know, being
amused by or I don't say amused, but be actually moved by it more than amused, moved by it.
But the idea here is, and I do the same with speeches, actually, which is very curious.
So when I plan a speech, planning musically and I play like a piece of music that, you
know, it has, it grows into some point and then I just go a little bit less and then
it moves into other directions, the development. And then I truly think of speeches in the
same way, because at the end of the day you're communicating. So that's, that's something
that I'm very interested about and that I use a lot. So it's a combination between the
topics and what you're presenting there and also the order and how do you present it to
create an experience that's relevant.
Brilliant. Now, going back to women composers, so in what ways do you hope Kaleidoscope will
impact the visibility of female composers globally and how does it reflect the diversity
and richness of music across different cultures?
Yeah, you know, I think that women composers are underrepresented in programs, but then
women composers from certain continents are underrepresented from this underrepresentation.
So, you know, it's also scale and there's such amazing music that it's really what Kaleidoscope
wants to bring is, hey, here you have these extraordinary composers all around the globe.
You have this beautiful cultural influences that come together through this work. So that's,
that's one thing. And the other one is the importance of creating this positive reference
for younger generations, right? That they can look up to and say, you know, these great
composers objectively, you know, because of their trajectory of these works, the objective
quality of their works, you know, they're there, they have done it, they have made it,
they are successful, their works are so compelling. I can do it too, right? So I think this, the
importance of these role models and of creating these positive role models for younger generations
is very important. So, you know, as a performer, I wanted, I think part of my responsibility
is to, you know, bring this music to life and present this music. I think that's part
of what we have to do. And we have that responsibility to make sure music is alive, make sure that,
you know, music still is being created. It's also promoting this contemporary music and
also promoting this underplayed, unfortunately, music that is not as played as it should.
And that could create really interesting and really relevant role models for many young
people, younger generations, for sure.
Now, we're talking about female composers. So I'm curious to know about your work with
Women in Music.
So that's an initiative I created with Mezzo Soprano Anatona, and that was based on musical
exchanges between countries. So before Kaleidoscope, there was this little steps, you know, to
get into this major project of Kaleidoscope. And those were, it was very interesting because
you could see the differences between actually the different countries and the contemporary
scenes in each country and how beautiful it merged together in a concert. They met, you
know, many of these concerts went to the other country's concert. So it was many of these
composers went to the other country's concert. So it was beautiful because the composers
themselves met. It was a matter of creating this network of composers, of women composers.
You know, I think that that was the idea. The idea was to create connections, create
this network, make this beautiful pieces visible, and also reflecting the beauty of bringing
this different perspective together.
So this initiative helped you shape your artistic journey, but also program for this CD album?
I think so. You know, I think that that exploration and that, you know, because we had to contact
the composers, we had to look for the music. We were honored that some great composers
composed work for us, which was beautiful. So, you know, we had Alexa Babacanian, Pamela
Sclar, great composers that dedicated works to Sonia Mejiaz. So, you know, that's very
beautiful because you're also promoting the creation of new music when they compose for
you. And when you have these opportunities to showcase this work, then you are contributing
in a way to this creation. And yeah, I think that that was the initial idea. And then the
second idea was, hey, you know, I've done this with certain countries. Let's expand
this vision. Let's try to make it as global as possible and see what happens. Here's where
Kaleidoscope came about.
That's wonderful. So before this CD, before even this huge surge in, let's say, diversity
in classical music, which was around 2020, you know, in 2021, you were already starting
this journey of promoting female composers, women composers, right? So now, then what
sort of obstacles have you encountered in promoting the works of women composers, especially
in classical music industry that traditionally spotlight dead male composers?
Right. There are several challenges at the beginning. So I remember prior the Me Too
movement. And I think that was there was a change there. I think there's a lot of work
to be done yet, but there was a change in the attitude there. Before the Me Too movement,
I would propose programs and like 70% of them were rejected just saying, hey, play real
music. This is real. And I have it in writing. So it's crazy. It's crazy. I've received
rejections like that when they haven't even heard the music. And it's just because it's
a woman. And I'm like, what's wrong with you? Right. It was crazy. Now, after 2018, there
was a change in the attitude. And it's true that programs of women composers were better
received. And then you have several issues for historical composers. What happens is
that when you learn a Beethoven sonata, you have 200 editions of the Beethoven sonatas,
you have thousands of recordings, you have a lot of references, you have books written
about them. So when you approach the sonata, which has its process and its cause, but you
approach the sonata already at a very polished level of edition, fingering, you know that
the score that you're reading probably would be quite, quite polished.
And so it's easier in a way. It's very accessible. You can find scores anywhere. It's something
easier in that sense. Many of these women composers, especially when you are really
going to the libraries to get the manuscript, they even have not been published or they've
been published once. And we know that first editions in the 19th century, they had a
lot of mistaken notes. They have a lot of... So it's really both a half musicological work,
half performative work, because you have to really get into these pieces and try to read
about the context. And there's not as much information available for you to start your
performance of the work. Maybe it has never been recorded, so you don't have an image
of, you know, oral image of how that might sound. So there are challenges in this sense,
but at the end of the day, it's also a very rewarding work, because you say, in some cases,
it was like that. It was like, hey, you know, I'm the first one playing this. It has been
buried for 200 years, and now it's appearing here. It happens with some of the Ardose pieces,
actually, in that CD that I did previously to this one. There were some premiere recordings.
They were works that we just got out of a manuscript thanks to Patricia Klein and two.
So it was beautiful to say, hey, you know, if we didn't have this crazy idea to just
record all these pieces, these pieces would have been buried, and they're beautiful. They're
very valid. It's a very valid repertoire, very beautiful, and with a lot of, you know,
great things to learn about and to enjoy. So there are two types of challenges. One
of them is how the program is received and the reception by programmers, by critics,
and that I believe is changing. The mindset is changing now. You know, people are starting
to realize that they were just forgetting about so many composers, you know, there that
were brilliant. And the other challenge, which I think still happens, and especially with
historical composers, is this, is the fact that you don't have these polished editions.
You don't have, you have to go sometimes to manuscripts or, you know, sometimes have very
little context, you know, exactly where, when it was composed. So it's, you know, the work
is different, but it's also very rewarding.
So speaking of rewards, so could you share any positive and memorable experiences through
this project?
Well, I had one very recently, and it was so beautiful. It was at the Teatro Colom,
so in Buenos Aires, and that's a huge theater, like that's really major, no? And it's, and
everyone stood up at the end of the concert with Bravo, Standing Ovation, with the program,
with Caledoscope's program, right? So I was very fascinated because, you know, it's a
program that many people won't know many of the names that are in there. They're experiencing
this music for the first time. You know, I, they, some people may know me, but perhaps
many people there didn't know me in Argentina. So it was amazing to see how moved they were,
and that they were cheering, and in such huge ways, you know, with such a tradition. And
it showed me really the strength of this program, and the beauty of the program, and how it
can really communicate, you know? And I was very surprised because, you know, expecting
that they might like it, of course, because I think it's great music, but it was the emotion
that went through it that people were like, oh, and they were just, you know, Standing
Ovation, and it was, it was a very long one. They had an opera afterwards, so they could
not allow people to be there, but they were there for a long, long time, you know? So
it was, it was, it was really, really special, and I experienced that also. I remember in
another concert in a city in Spain, that the programmer were so fearful. I'm not going
to say the name exactly, but the programmer was every day calling like, are you sure you
want to play maybe Mozart or something? And I'm like, no, I want to play this thing. And
you're going to see, they're going to love it. Well, what happened is that people loved
it. And afterwards, they came there, and they were like, you know, they came afterwards
to me and speak to me, and they were like, wow, discovery. This was truly a journey.
Thank you. I'm going to listen to this works now, you know, so I love that. I mean, I think
that's so moving. It's creating all this.
Wow, congratulations. Well deserved too. And I'm sure your genuine, you know, display
of emotion also spoke to your audience too. Now, where do you think female artists and
educators stand in the industry today? So do you believe we're being taken a little
bit more seriously now? And how has, have there been any notable progressions?
I think there are notable progressions for sure. I see it, you know, in women's works
being performed, female conductors that are conducting. So roles that were usually associated
to males and that they, I find that there was a bigger rejection to actually accepting
women. I must say that we are quite fortunate that in the piano world, they have been great
women pianists since the 19th century. So there is, because of the piano and what it
meant in the 19th century and what it meant for women in the 19th century, which is a
very interesting topic. On one side, it was like, hey, all women have to know how to play
a little bit of piano. But yeah, on the other side, there were women professors, women teachers
in the 19th century who were earning money already and were having economic independence
thanks to the piano. So the piano is a very rare and amazing instrument in that sense
that it allowed many women to progress and to have careers in music through the piano.
But it's true that maybe the percussion world, the brass world, the conducting world were
really so much more male dominated. Now finding that more, you know, figures recognize female
figures are recognized there. I think it's very important. So I think we are at a point
in which at least this conversation has started. This conversation is ongoing and people are
more eager, I believe, to listen to this repertoire and to discover this music. So that's great.
Still, I think, you know, many symphonic orchestras still program 90% 80% more men composers and
usually from the canon, which I want to clarify. I love that Mozart just performed Bach, Chopin.
I think this is also very important when you approach yourself as someone who is very focused
on female composers. But I also play many composers, a lot of contemporary music from
men composers. And I want to promote that too. I think we have to enlarge the repertoire,
enrich it. You know, we don't have to just say one or the other and we just forget about
all the amazing male composers that are there. But I think, yes, in this sense, I think there's
the audiences are more aware of the topic and therefore they're more eager. But still,
I see in big programming, still, there's that we are far from the point that we should reach
ideally in this sense. In education, I think curriculum are becoming more, again, conscious
or universities are becoming more conscious of these issues in the curriculum, in the
traditional curriculum, music history, music analysis, and that they are starting to change
that. I feel it. Still, I think it's an ongoing process and might not be an easy process.
But again, I studied back in the day that Clara Schumann was Robert Schumann's wife
who played his pieces. And that was what I learned. And then Daniel Mozart, yeah, played
with Mozart and then disappeared. And that Fanny Mendelssohn was Felix Mendelssohn's
sister. And that's it. And those were the ones you knew because they have that last
names. But otherwise, you don't know about the others at all. So, you know, I think more
and more conservatories, universities are more conscious of the importance of incorporate
women composers into history classes and also in the regular programming and to, yeah, and
to make visible their contributions. I think there's a change. Still, there's way to go.
Yeah. Now, do you plan to perform this repertoire, this entire program more often in a concert
hall? So that's the idea. You know, we're planning presentations everywhere, hopefully
soon in New York. We're just closing some details. But yeah, that's the idea. And the
idea would be that the program that I travel with the program life, at least in the countries
of the relevant composers, of the composers that are part of the city. But of course,
I think this this program can reach anyone. So the idea is that it's presented live to
you. And there's a component I like very much. I like very much talking. Yes. But I like
to present the pieces before the concert and before performing them. Just, you know, it's
not that it's a lecture recital every time I play, but at least certain little details
because I like to enhance the audience's experience. I know there's some controversy about it,
but in my experience, it's good that they have just two, three notions. You know, you
don't have to reveal the whole thing, but just two, three things so they can listen
and they can be looking for this or that. No. And I usually I usually do that. So I
truly would like to bring that life experience that combines both things. Yeah. So wherever
possible. Wonderful. Yeah. Well, if you when you're in New York, let's I would
love to attend and let me buy it by your lunch. I would love to know how much I admire you.
And it would be beautiful that you attend and definitely have lunch. Yes. Before we
continue, we would like to take a moment to highlight our sponsor musicians passed to
peak performance by Dr. John Skidmore. Their support makes this episode possible. I watched
Amber, a young string player, intercept her teacher as the teacher was going up to the
front of the recital hall to start the recital. Amber stops her, looks at her and just you
can feel the anxiety. I'm nervous. And now the teacher was nervous. She didn't know
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to peak performance and the certified peak performance coach program at my website, drjohnskidmore.com.
Risk fail, risk again. You know, as most artists, you wear also many hats and, you know, beyond
your musical career, you have this advocacy for women's rights. And so I understand that
several years ago, you had a remarkable opportunity to speak at the United Nations. Oh my gosh.
Wow. And as I was researching your story and to prepare for this episode, I discovered
your involvement with the UN's Sustainable Development Goals. So which tell me a little
bit more about this UN Sustainable Development Goals, first of all? Yeah. So the idea, you
know, is to promote, there are 17 goals and to promote the economic development, but economic
development paired with social fairness and paired with an environmental consciousness.
And, you know, it's truly to combine all these with 17 objectives that are clear, that are
identifiable and that they are common and that all the signing parties, the 193, they
have this common objectives to reach in 2030. Of course, you know, we are far from reaching
them all, but it's true that it's, I find very important that whenever you have a goal,
a specific goal, you work in a direction that produces certain great effects that are, you
know, already big advances into some direction. So I'm not sure if by 2030 they will all be
met, but what's true is that having so many countries really having these common goals
and this common agenda, it's something I think relevant, something important. And what I
mentioned there is the role of artists and of art too. So I felt in a lot of these conferences,
you know, they will approach me and it was me like, Hey, so what do you do? And I'm like,
Oh no, you know, I'm a pianist. I'm going to, Oh, I played a piano when I was three years
old. That was beautiful. I love it. That's so great. No, but what do you do really? Hello,
you know, it's, it's, I felt so bad. And it's, it's, it's because in some way, you know,
this role of the artist and the artist with this social consciousness and with sometimes
it's not as, as promoted, you know, it's more in this image of artists, it's entertainer
and the entertainment industry and that's it, but not this other type of artists, which
I find very interesting. So what I mentioned there was, Hey, you know, we all have a role
and economist has a role and architect has a role. We have a role. There are different
roles and in certain spaces, some roles might be more prominent, some less, but we all have
a role. And I don't think it's, it's good to invisibilize this, this part and the part
that the arts can play, especially raising awareness, promoting dialogue, and also about
this idea of creativity and innovation. You know, so we're talking about innovation all
the time and it's just technology, right? Science, but innovation is creativity, creativity
is art. So at the end of the day, art has also a part to play there, you know, and part
of proposing maybe a religious ideas, but ideas that may change the perspective on something
and then see how can we get into them into that specific path. Right. So, you know, I
think it's, it's about that. It's about understanding our role as artists and what we can do. We're
in a very privileged position to be able to present our work to the public, to an audience,
larger or smaller, but still you have this, this opportunity. And, and I think making
a good use of it by promoting these values, it was something that it was, it is something
that resonates very closely to my heart. How are you linking music to this United Nations
program? Right. So the, the, yeah, here, for example, let's say when you talk about promotion
of dialogue through different initiatives, right? Or promoting initiatives, concerts
through in which, you know, people that might have, I mean, conflict, they might come together
with the same goal, with the same idea. So music as sports has, it has been widely researched
that it's a great vehicle for doing that. Raising awareness in this sense, you know,
I'm playing a lot of works related to that, to the matter of sustainable development,
Juan Antonio Cimarros, for example, a piece on Four Courts of Sustainable Development,
Merlin 12 Hoffman works, which were inspired on data on climate change specifically and
how it's translated in a sonic way. Pieces including audiovisuals. So, you know, this
also has this component, this visual component to it. So again, it's, it's a matter of raising
awareness. Why? Because music has this capacity of reaching both intellectual and emotional.
And you know, if you really want to take action for something, they can tell you all the data
you want, you may understand it and you may be conscious that it's bad. But hey, when
there's something that really moves you, it's when you really take the action, right? And
music can help for that, you know, can really help in that direction. And in terms of innovation,
you know, I have this network of artists, we are all very conscious about it. And we
are always coming together and seeing ideas and programs and how can we present in very
innovative ways the problems that we're currently at, and how can we present solutions sometimes
in collaboration with engineers, scientists. So, you know, the idea is to understand music
as part of all these processes and not just something that is there for entertaining us
and disconnect once the serious matters are over. No, it's truly part of it.
What you're doing is really incredible.
I tried to do research also about it. I published an article at YASSA in Vienna, which is a
research institute exactly on this, on the role of classical music and sustainable development.
So and I'm really deepening on that also international cultural relations. In fact, my master thesis
at Harvard was about that, about the possibilities of the European Union in particular in Spain,
with international cultural relations and the possibilities of that European level.
So I'm very interesting about this intersection of topics.
I was going to ask you now next question. So you mentioned that you studied international
relations at Harvard University. You got your master, another master's degree. Yeah. So
what initially sparked your interest in this field?
This was interesting because, I mean, these great universities, they make a difference
in two ways. First of all, the teachers are extraordinary. And also the conversations
that emerge in class and the debates, you know, and you also find very different perspectives.
And it's fascinating. And I really wanted to because, you know, having this idea as
a musician say, hey, you know, I want to contribute to this process. Let's do it. And I wanted
to be informed, you know, and I wanted to really study in depth the language because
and the way of communicating it. Because a lot of problems that we might have as musicians
is that if we are not trained about any of these concepts in the conservatory or back
then, we might have good ideas, but we don't know how to communicate it to the other side,
right? So to international relations professionals and politicians, because we don't speak that
same language because we don't know about that language, right? So they should make
an effort to understand this. But I really like this idea that if I was really going
to promote this and it was really going to be a part of what I'm doing as a musician,
it should be in the possibly most informed way, or at least as much as I can do with
the time that I have, et cetera. So that's why I really wanted to study this in depth,
you know, because as I am a researcher too, not only a performer, research for me is very
important and trying to give an opinion based on research and this is for me, it's part
of the process. So I didn't want to just, you know, be giving speeches about this at
such general level without truly studying the language. And I think we can be more effective
communicating all this. We know how to approach this sector.
That's quite unique and interesting, your approach to be an artist. There's a distinction
between artisan and artist, right? And yeah, we all thrive to be artists, although there's
the importance of craftsmanship in what we do.
You have to play the notes.
At the same time, we also have to have a brain to make smart, intelligent programming, for
example, or a smart way to approach selecting music to communicate to our audience, right?
Yeah.
And you know, I think a lot of great composers that we admire and, you know, they always
also had some of these visions, you know, of being larger than just, okay, this is a
quarter note, this is, you know, it's projecting something else, you know, their values. And
I think it's important, the more you can understand about the world around you from different
perspectives, the better you're going to play. Of course, you need the hours. I mean, all
this is beautiful, but if you don't play the notes, you don't play the notes in period.
But understanding that you have enough hours to play the notes, you and that more or less.
Then the next step, I think, is to grow as an artist. And I also like the word intellectual.
I know that there's some controversy about it, but I really loved that in the past you
see this. I mean, I had the chance of speaking with some composers. I remember Luis de Pablo,
for example, I researched a lot, contemporary composer in Spain. We'll speak to the man
and the man will talk to you about literature of an hour and then about art and about painting,
about Caravaggio. And then he will move to Joyce and how that influenced his. And then
he would talk about politics in Spain and the Europe. And, you know, you will interview
him about his work, but then so much, you know, emerged from that. And he had an impact,
I think, his work, you know, and his way of might like it more or less. But I personally
think that this such a wide conception of artists and intellectual in the sense of someone
who is always curious and always wanting to to learn more and to I think that that was
that's that's in some of these people. And it's it's something that I I think artists
should should have or should aspire to. Of course, we have limited time and we don't
each of us has to select what are their main interests. So maybe it's not sustainable development
as such. Maybe it's another kind of work. But I think this and you know, that depends
so much on the artist. But I think the wider you can get in this sense of influences and
perspectives, the richer is going to be the the output.
So from your experience speaking at United Nation on gender equality and how you are
promoting female composers. So how can the music industry better support this cause and
what changes are still necessary? Maybe you have already answered, but I mean, for me,
it's a circle, right? I see a circle. So if people don't learn it in schools, right. So
education is fundamental. If you don't learn a piece when you are applying to a competition.
So if the competitions tell you it has to be Bach, Haydn, Beethoven, Mozart, and then
you have to play or Debussy, Ravel and you might place a big romantic piece, but it should
be Bram Chopin. And your it has to be Chopin, Rachmaninoff, Skriabin, which is wonderful
and amazing. But I'm saying, why don't you add Gabriel Ortiz? You know, it's like just
add one more name. That's all. I'm not asking for more. Right. But again, you enter those
competitions and you don't have if they ask you for that program and you have a limited
amount of time and you have to pass your exams, you just learn that. And that's the repertoire
you grow up with and you play and you go out of the conservatory and you play that. And
that's what you offer to programmers. And then programmers say, well, you know, that's
everyone's suffering. So that's the programming that should be. And then audiences don't get
to listen to any female composer because everyone is playing these other composers. And then
if audiences are not requesting that, then programmers won't program it and then pianists
won't play it and then you won't teach it because no one is playing it. And you just
get into this circle and no one's going to research about it because of the curse. And
you just get into this circle that unless you take a real action in any of these fields,
and I think it has to be a collaborative effort, unless you take a conscious action in this
field, it's very difficult. It's very difficult because again, it's something that it's very
in a way ingrained just because we have been taught that way, just because people just
follow the same method they were taught that. So you just keep replicating a situation instead
of working for changing it. Again, it's as simple as including one piece here, one piece
here. It's not about destroying what we have. It's about reaching it and making it more
and more diverse. That's all. That's all about it.
I know we've talked about serious matters. So I want to talk about you. This platform,
you get to also brag about yourself. That's one of the purposes of this platform. So I
would like to know personally about the highlights of your career as a performing artist. Yeah.
Like, do you have any memorable concert? No, a few of them. I mean, I've been blessed to
have the opportunity to play at big stages, Carnegie, Palau here in Barcelona, after and
also Teatro Colón. It was beautiful also to play at Villa Viaduct, for example. So they're
big theaters, but also these places that have such historical background to it. There have
been certain highlights and I've been able to play at the Vatican, for example, which
was a beautiful opportunity. I've been able to play with fantastic orchestras in Portugal
and Spain. So there are highlights in there, but I think every single concert has been
special, or every single concert had a very special component to it. So even though these
great places are very special, also more intimate audiences are also very beautiful. And sometimes
you can move more the audiences and it's something, it has this component that makes it very,
very special. You get to talk to the audience afterwards. Every concert is an adventure
and every concert is a memorable experience. Can you share about the Festival Granados
that you organized at NYU, which seems like a long time ago, I'm sure. It's a long thing.
So that was very nice. So basically we organized a festival around Spanish composer, Enrique
Granados. Another important part of my work is also the promotion of Spanish music in
Spain. And I think we have a very interesting musical heritage, which I really love. I really
like. And I try to promote that. I play Albeniz very often. I play Falla, Maria Rodrigo. So
I try to also bring Spanish music and contemporary Spanish music into my programs. So this Granados
Festival had several components. There was a panel. So this was more research oriented.
We had researchers. We also had performers speaking. So I really liked this multi-perspective
into it. Then we had a concert by students from the NYU program, from the master's program.
It was great to see how these students pick up one of Granados' pieces. They played it.
So it was an incentive to promote this music. And also we had the opportunity to give the
premiere of the transcription for Quintet of Granados Concierto Patético. Now Granados
left a manuscript for two pianos of a concerto. So it's called Concierto Patético, apparently.
No, the only surviving piece is one movement. There had been a reconstruction before, but
the issue was that they, I mean, it's great and it's fantastic, but it's the first movement.
And then they added two more movements, picking up elements of Granados music. So that's a
personal choice, but we wanted to just do the movement that was remaining. We just completed
Sergi Casanella, a fantastic composer who is at NYU. He completed only three bars at
the very end, just to conclude it in the tonic, because after all that, but that was basically
what he did. And also the great transcription into a piano quintet, which was his work and
it was brilliant. But yeah, the idea was to bring this concerto back to life. And it was
very interesting. It was done at Stanley Hall and it was very, very nice. We also had the
collaboration of a Spanish designer, Agatha Ruiz de la Prada, which I got to wear her
dress designed by her. She's very renowned. So it was really beautiful. And I felt very
moved because again, one of my goals as an artist, as a Spanish artist, is also to promote
my country's music. And I feel very proud of the very rich repertoire we have in Spain.
Sure. In fact, the last episode was Haik Arsenian. He is an Armenian pianist, but he has extensive
research on Antonio Soler. Yes. So this month is all about Spanish composers. That's it.
Spanish artists.
No, I mean, Soler is fascinating. He plays it so well, but Soler is truly so, so personal.
He took in a way, you see some of his pieces, the Fandango, he has some modulations in there.
You say, how did he compose this at that time? What happened in there? And it's a fantastic
composer. And there are a lot of composers around that time, also around the Scarlatti
at that moment in Spain, Nebra. It was a beautiful moment. And also Spain at the time, Farninelli
was established there. So they had, it was a major opera center. So it was a very interesting
period and Haik plays it beautifully.
Yeah. You spend quite some time in your earlier career, plus education in the United States.
And now that you're back in your native country, Spain, and you're so in touch with your roots,
right? How do you hope for others like musicians and also maybe students who perceive and appreciate
Spanish music? Haik Arsinyan mentioned about this really specific, such a distinctive characteristics
in Spanish music. Like you can really, in a second you can say, oh, that's Spanish music.
Yeah. How do you want other people to appreciate Spanish music more?
You know, I think Spanish music, it's very identifiable. That's true. And it has very,
a very distinct character. And I totally agree with Haik there. And it also has a lot of
complexity. And I think a lot of times, you know, we're thinking about Arthur Rubinstein's
recording of the dance ritual del fuego, with like, with hands like that. And he's amazing.
He was incredible. And it's beautiful recording. But I think there's a lot of like showing
there. And I think Spanish music is truly full of drama, full of so many emotions, right?
Flamenco, if you think about it, which is the baseline of many of this music. You know,
the story is super dramatic. It's like, you killed my father, therefore I'm going to,
like, really drama stories. And then you were with my sister and I have to kill you back.
And like all these things are crazy happening, like soap operas, but like, you multiply by
20, right? So it's, it's really dramatic. And I think something beautiful that, for
instance, Alicia Larrocha did, or Haik does in his playing, is how serious they are about
the quality of this music, the complexity of this music. And therefore their beauty,
you know, the great craftsmanship that this music has. And we are blessed, you know, I
think as a country to have produced such, such great composers who were able to take
the distinctiveness of our folklore, which is very distinct. And also it varies a lot.
You know, we all think about flamenco, but when you go to the north where I'm from, it's
all about Celtic music and it's like Irish music. So, you know, the pieces that are,
that derive from that are inspired, like imagine like an Irish folk piece. So that's really
fascinating and that's really interesting. It's, it's great to see how we had such great
composers that were able to, to really bring the best out of these works. Also creating
this mix with other currents that would happen at a time, like Impressionism, for instance,
in Albania, right? So you can see this mix that it's truly beautiful. So I think people
that start listening to Spanish music, they will definitely love how distinct it is. They
will definitely love the depth of feelings and it's a music that truly moves you very,
very intensely. And they would also be surprised, I think, about the quality of many of these
works that, you know, I think we are usually, again, the canon, usually more prone to the
German tradition works, which are extraordinary and amazing. We all know them, but it's very
interesting to understand this also this, this other currents, right? And it's, it's
beautiful. I mean, it's, it's, it's, there are a lot of, there's a lot of beautiful music
in there to explore. Wow. So we covered, you know, your fascinating careers and artists
and public speaker, advocate for women composers, promoter of global sustainability and so on.
So how do you see the intersection of art activism and how can artists use their art
forms and platforms to advocate for social change? I mean, I think you have to be passionate
about something and I think that's very important, you know, to choose a topic or topics that
you are passionate about, that you feel about and that you think you can make a contribution
on and then think about in ways in which your creativity can contribute in some way to some
degree to this. So I think it comes from a very deep exploration actually on yourself
and what matters to you. And, you know, I think you are more effective if you pick something
that it's dear to you, that it's something that you, you truly feel about it and you're
truly passionate because then I think everything, it will be sincere, it will be transparent,
it will be an honest artistic endeavor to, you know, you won't compromise one thing for
the other, nor in one side, nor in the other, but you, everything will, you know, come together
and evolve at the same time. So yeah, I think that's the main idea. First of all, research
on what you're passionate about, think about how you can contribute to that and then you
will find probably the way to do it in an articulate way and in a honest way. I think
that's most important, to be honest, it's not just with your values. So if you're really
defending what you feel about and what you think about, this will come together in, I
believe in it, honestly.
Now the reason why I wanted to start this podcast was see how our industry is moving,
whether that is forward or backward and hopefully forward. And I have been really encouraged
by the fact that people that I met through this podcast, guests, they are all forward
thinking, as in, so for example, for you, you know, you have not just to have this one
specific career, but you, you combine everything. And so what are your thoughts on this multifaceted
approach to being a pianist in this new generation?
You know, it's, I think it's a very personal journey. So it's, I don't want to pontificate
and say, this is the way, right? I also admire people who just say, I just play Bach and
that's it. And, you know, I like that. And that's, that's valid. Again, it comes with
artistic honesty and what your goals are and what your vision is. And I think as an artist,
I remember that the first day I got into an MSM, that's the first thing they told me.
They told me like, what's your vision as an artist, right? Just tell me and I'll let you
speech about that. Hello. Boom. Just do it. And I was like, eh, hi, I'm from Spain. Hello.
And no, but that was very interesting because it's, I think it should be a lot of times
we get very distracted by social media, but what everyone wants us to be, what we have
to do, but like, and we don't get the time to say, Hey, what kind of artists do you want
to be? How do you want to be remembered? How, how can you contribute and how can you make
a meaningful contribution? Right. For some people it's just recording the whole works
of Johann Sebastian Bach and that's great. That's fantastic. And for some other people,
I think it's more, you know, exploring new repertoires, reaching the existing repertoire,
presenting new pieces. And so I don't think there's a better or worse version, but it's
just being honest with your, with your values. So I think it's relevant as far as it is relevant
for the artists and as far as this is honest with their artistic vision. So for that is
relevant and I, I'm glad that many people are actually, you know, taking this path,
but I'm, I also respect a lot are people that just say, Hey, this is all I want to do. I
just want to record Scarlatti and that's it. And that's beautiful. That's amazing. And
that's their vision and what they want to communicate. And that's what we want as artists
communicate certain emotions, certain values, and you can do it through so many roads. And
that's the importance of that to say there are many roads. That's important itself. And
I think that's very important for younger generations and for students. A lot of times
in the conservatory system, the only success story is Martha Argerich, either you are Martha
Argerich or you are a failure. Right. And I don't think that's a reasonable message because
it's not reasonable in any profession. Like you ask a doctor and says, Oh, you're a cardiologist
or you're not. No, I mean, there's so many specialties and so many possibilities and
the definition of success is so deep. Like there's so many possibilities for that. And
in music, we're apparently trained for just one path. And I think it's important to be
civilized also that there are many paths, there are many ways, there's space for everyone
and there's space also for careers that are a bit different than what we are just taught
at the conservatory. That's it. And I think that could also be very positive for mental
health, for many avoiding many frustrations and saying, Hey, you know, there are many
different ways to understand this business, to understand your career, to understand,
you project yourself as an artist. I think that by itself is positive and it's important
to communicate it.
Isn't our guest so inspiring? I'm sure you're enjoying and learning from every bit of this
episode. So I need to ask you two things. First, hit that like button on YouTube or
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We are really close to the end of our conversation. So I would like to ask just a few philosophical
questions. And I forgot to mention we have to do the piano pod rapid fire question at
the end. So I'll explain that later, but I'm sure you heard some of the episodes. So we'll
get through that. So what are your thoughts on maintaining the relevance of classical
music in today's world?
I think classical music, you know, it's, it's very important. It's very relevant because
it gives us a space for thinking, for reflecting, for experiencing just, you know, a lot of
times and I feel each time more and more this world goes so fast and we don't have really
that time for reflection. And piece of music is truly a space for that. It's a space first
with a dialogue with the past or with the present, the dialogue for that composer with
a dialogue with your own feelings and exploration on your own thoughts. And I think that's,
that's very valuable, especially in today's world. And I think, you know, a lot of times
when you see this marketing of trying to create classical music that each time is getting
closer to pop music and I'm like, you already have pop music. Okay. And they're doing great.
And it's cool. And it's their space. So why do you want to turn this into that? Just make
sure that people understand and feel and feel, you know, happy getting into a concert, classical
music concert, what is, you know, really, which is about that. You know, when I go to
classical music concert, I am expecting that I'm not expecting something else. The same
when I go to certain movie that I know it's going to make me think it's going to make
me cry. It's going to make me laugh. It's going to, you know, it's not just to watch
anything. No, no, no. I really want to do this. And that has its value and has its place
and it's needed in that sense. You know, so I think it's a matter of understanding the
role of classical music. And what I experience is that with programs like this, like Latoscope
and programs that get out of the box in this sense, you actually get a lot of people into
the classical world. They get to experience this and they're like, Hey, you know, this
is great. Let's let's stay here. And that's that's very important to you. You know, I
think we are many times you see people complaining, oh, no one's here. Right. Well, sometimes
because we offer them some products that we perhaps have to think more about ways to attract
audiences, but to attract audiences without losing what classical music is. And, you know,
the idea for thought that goes with it. I don't want to turn it white turn it into something
that it's not. What did you thought on our duty as a classical musicians to the society?
We have many, many duties. I don't think it's just one. First of all, is to communicate,
communicate at an emotional level, communicate values, communicate thoughts, communicate
to make them feel and feel emotions about the pieces that we're performing. I think
that's that's our first role. There's a second role that I think it's the responsibility
that we have as public or semi-public figures that we are known, let's say, in smaller or
bigger environments. And in that sense, I think we have a special responsibility. And
our goal is to truly be an example of certain values. I feel so the value of discipline,
the value of work, the value of effort that comes into playing a piano. Like you can play
so well because you've been trained for so many years and you've been working so hard.
And, you know, I think that's those are positive values also that classical musicians should
bring in. And I think this interaction between intellect and emotions has a lot of possibilities
for raising awareness about current issues. So that too, what we were speaking about before.
So that role of proposing new ideas, of rethinking things from a different perspective. Well,
that's also a role that Arc can have. Once again, I want to congratulate you on your
new album, Kaleidoscope. And I feel so honored that this is one of the, I guess, the first
interview about your album. And today is the day of release. I feel so honored. So thank
you so much for showing up today. So beyond Kaleidoscope, are there any upcoming projects
or collaborations you are excited about or maybe concerts?
Yeah. So I have this upcoming concert at Brahms House and I'm going to play with my husband,
right? Flutes, Rubén Torres. So we're excited about our duo. And also we're playing solo
and duo. And the solo is Brahms Paganini and several Pauline Viardot pieces. So it's real
solo. And we're playing also Brahms Sonata 1, transcribed for flute and piano. It's the
viola sonata, but transcribed here for flute. And also the clarinet romances that we are
playing also in flute. They are original for violin, but they sound beautiful in flute.
So that's a very exciting program because again, it tries to reflect what was batting
batting at that time. That's where this Brahms House, Brahms lived in several places, but
this is Brahms House with batting batting. So what was that about? Basically that was,
you know, this great geniuses like Clara Schumann, Pauline Viardot, Brahms together sharing musical
ideas, truly, you know, having the soirees in which they were playing this piece. Actually,
Pauline Viardot had a huge salon, a great salon, more than huge in space, but of people
who would go to Pauline Viardot's salon in batting batting. And, you know, there were
this kind of sort of chuberty acts, as we say, or small reunions of people. And there
were concerts there. So it's really exciting to bring all that back to Brahms House. And
it's beautiful. Again, I had the chance of playing at Mendelssohn House too. And they're
always or Viola Viardot. So these places have, you know, a special component to it and especially
playing the pieces of these composers. Of course, there are several presentations. There's
a lot of presentation coming up, Lisbon, several presentations for Kaleidoscope. And as I said,
the idea is, I'm closing all these concerts, is to perform it as much as possible during
next year. And also some orchestral performances coming up. So there's a good mix in there.
But the main focus, of course, now is Kaleidoscope soloist and presenting the SPCV as well.
Wonderful. So now, how do you see your future work continuing to merge music and advocacy,
particularly in the areas of women's rights and gender equality?
You know, I think it's interesting because a lot of times they ask me about, how do you
see yourself in 15 years? How do you see yourself? Well, if I ask 20 year old Isabelle about
how she looks at herself in 12 years, I'm not sure if I would be able to imagine the
great things that have happened. Also, there were not so great things. That's life how
it is. But there were a lot of great things that I couldn't dream of. So my goal is to
keep doing this work, keep exploring these pieces, to keep promoting women's voices in
music through programming and research. Where exactly that would lead me, hopefully maybe
a Kaleidoscope 2, Kaleidoscope 3, Kaleidoscope 4. That would be amazing to do a series on
that, or focusing on specific composers, like what I did with Piaardo, right? That was so
beautiful. I think they're complementary, but they're like very different projects,
right? So one is about many composers coming together. The other one is just focusing on
one and trying to get as many pieces as possible, right? So either way, but I'm sure that I
will keep this advocacy and keep researching and discovering these amazing treasures.
So for our listeners, please go to IsabelleDobaro.com to learn more about Isabelle's solo and chamber
concert updates and check out her new album, Kaleidoscope, wherever you listen to the music.
And you can also follow her on Instagram at IsabelleDobaroPianist. All the links are listed
in the show notes. So Isabelle, this has been a really fun and inspiring and educational
conversation. But before I let you go, we have one more thing to do. It's called the
Piano Ball Rapid Fire Questions. This is a part of the show where I get to ask fun questions
to each guest. However, as silly as these questions may sound, your answers may reveal
who you truly are, so ready or not. So please answer them with the shortest responses as
possible. No explanation is necessary.
Let's do it. Yes, let's do it. So level one, what is your comfort food?
Pizza.
Pizza, yes. All right. How do you like your coffee in the morning?
Very big one. And with milk, latte and a big one for the day. I love coffee.
Yes, yes. Aim into that. Now cats or dogs?
Dogs.
Sunrise or sunset?
Sunset.
Summer or winter?
Summer.
Now level two, next level.
Okay.
What skill have you always wanted to learn but haven't had a chance to?
Sing well.
Sing well?
I would love to be a singer. That's my frustration. Just to be a singer, that's why I sing with
a piano. I really sing horribly. So I really want to, I really want to, I mean, of course,
I pass my exams, but I really want to sing well. That would be a dream.
All right. Maybe not to your next 10, 10 year goal. What is your word or words to live by?
You know, I think it's, well, this is not always 100% true, but I think that a character,
I think the Cicero citation is the characters of man is its bestie or something like that.
I know that destiny depends on many things, but I think the character and how you face
things and how you face failure and how you face success and how you work on that every
day, truly it's your destiny, at least at the personal level. Then there are a lot of
factors that can happen, but at least on your own satisfaction.
What is the most important quality you look for in other people?
Honesty, that they're good people, like their honesty, honesty and loyalty for me. It's
super important.
Now, next one is a little difficult. Name three people, three people who inspire you,
whether living or dead.
Well, let's say family is one person, so the whole family, one. Now, the second one would
be difficult. I'm going to say Alicia La Rocha, but it's up there, Alicia La Rocha slash
Martha Argerich, but I'm going to go with Alicia for one reason. Just because she's
Spanish? No, but because she really did a lot for the Spanish repertoire, but she was
amazing also in so many works and so many styles. She had such an artistic honesty,
a great repertoire of playing. I think Alicia will be there.
Vladimir Horvitz, I think, I remember I'm missing his class with David Duvall and he
said, there should be a class only of Horvitz recordings. At the time I was like, sure.
Now that I listen to so many of his recordings, every time, each time more I say, wow, yes,
definitely each recording of Vladimir Horvitz is a lesson. Every time you listen to his
playing, it's so striking, so full of energy and such a power. It's also brilliant in the
way of his originality and his personality playing. So I adore his playing. There will
be Hoffman, Rubinstein, Teresa Carreño. You can name it like a thousand of them, but let's
pick these two for now. Yes, for today. Yes, sounds good. All right. So two more to go.
So name one piece in your current playlist. Well, I'm in that Rachmaninoff mood right
now. So besides Kaleidoscope, I should be in every place. Right. I mean, Rachmaninoff,
Op. 23, MF4. Now, last question. Fill in the blank. Music is blank. My life. Your life.
Amazing. Thank you. So that wraps up this episode of The Piano Pot. Thank you, Isabel,
for joining us today and sharing your stories, insights, expertise. And once again, to our
wonderful audience, you can learn more about Dr. Isabel de Barro and her amazing work through
her website at isabeldebarro.com. And thank you to our faithful fans and listeners for
joining in. If you enjoyed today's episode, please rate and review it on your go to podcast
platform. Please remember to hit the thumbs up button to end to subscribe to my YouTube
channel. If you're watching this episode on YouTube, follow The Piano Pot on social media
to get the latest piano news via Facebook, Instagram, TikTok and LinkedIn. I will see
you for the next episode of The Piano Pot. Bye everyone. And thank you once again, Isabel.
Thank you very much. Thank you.