Erika Ribeiro, heir of the great pianists, does not create barriers between the scholar and the popular

The pianist of San Paolo launches the album “Navigator of Silences” with the American violinist Francesca Andergg and talks about his references and motivations, such as “making room for true communication with the public, and who is in line with my identity of South American artist ‘

The American violinist Francesca Anderegg and the pianist of San Paolo Erika Ribeiro I just released the album Silence navigator. It is a different project that must be listened to in full because it shows an increasingly rare organicity. Unfortunately these days of digital streaming trivialize the artistic “do”, induce musicians who, in turn pressed by the record labels, salary music salads without foot or tested to see if they can “fish” any Faixinha that provides millions of auditions. Hay Monetize.

Francesca and Erika’s artistic profiles indicate that we are facing two virtuosos of classical music so called. But the hearing of his 15 tracks signed by three women (Léa Freire, Bianca Gismonti and Clarice Assad) and Five Men (Yamandu Costa, Radamés Gnattali, André Mehmari, Luca Raele and Toninho Horta) refer to our ears to different and equally Fascinated landscapes.

Popular? Scholars? Yes and it is not the answer to both questions. But we should not surprise, recalls Erika Ribeiro, at 43 years old, appointed for Latin Grammy in 2022 from Stravinsky + Hermeto + Gubaidulinain an interview with Estadão: “When we analyze the story of the plan in Brazil, we find names such as Jacques Klein, Arthur Moreira Lima and Clara Verter, just to give some examples, who are pianists who have always been involved with various repertoires, even if they have had undeniable acting at the interior of classical music.

Remembering: Between 1943 and 1946, Klein simply abandoned the academic repertoire and took over as a jazz pianist, even playing in New York for Art Tatum, so he considered the largest genius of the piano-jazz at that moment (Tatum liked very much what what he listened a lot). Arthur Moreira Lima, who recently left us, has made a very brilliant career in Europe, but dedicated the second half of her life to the inclusive Brazilian music, expanding the Deep Brazil with a palk truck; And dear Clara Guarder was a pioneer when he left the scholar and “occupies” the unexplored Brazilian academic territory).

Legitimate heir of these Giants of the Brazilian piano, Erika adds that “Brazil opens this door for us, acting in the classic but at the same time being able to venture musically in other territories. In fact, this segmentation of the” classic “pianist e The “pianist” segmentation never worked much with me “. Something that is very clear when it aligns between predictable references (Nelson Freire, Martha Argerich, Maria João Pires) another unexpected and very welcome (Brad Mehldau, Keitth Jarrett, Bill Evans … and Art Tatum, the black genius of the -jazz plan of the 1940s/50 who greeted Jacques Klein who shone in his territory).

“I would never have thought of choosing one side, but always pursuing a sound that made sense, from which I feel part and where I imagine that it can contribute, making room for true communication with the public, and this is in line with my identity as South American artist.

In search of the image image

Not surprisingly, Francesca is married to the Venezuelan composer Reinaldo Moya, hence the magical interaction between her violin and Erika’s plan. The albums recorded in 2018 Images of Brazilin the Naxos series of Latin classics, with works of Villa-Lobos (The Delicious Martyrdom), Fourth Sonata de Guarnieri, Pieces of War-Pexe and Ernani Aguiar; Without forgetting the most popular side, inaugurated in style, with pieces of Léa Freire, Villani-Cortes and the anthological Night flower by Radamés gnattali.

In 2021, during the pandemic, Erika released his first solo album, with works by two Russians (Igor Stravinsky and Sofia Gubaidulina, now 93) and Hermeto. Admirable interpretations of equally admirable works, such as the cycle Musical toysFrom Gubaidulina.

https://www.youtube.com/watch?v=zq7dr9dplqo

Still in the pandemic, in 2022, the residence of Francesca and Erika with the Ensemble of Silkrod designed by Yo-Yo but in Boston, absolutely confirmed the feeling that both had already in his DNA, he says to the pianist, now rooted in Rio de January : “He opened his head a lot to take more creative roles, including improvisation, provisions and composition, as well as that of the traditional classical artist”.

In fact, classic musicians have learned from childhood that the work of musical art is entirely in the soundtrack, depends on the interpreter to be as faithful as possible for her and the composer’s designs. The musicians and pianists cited by Erika since his favorites do not have the posture of the guard dog of what is in the soundtrack, make room for the interpreter. After all, music was born and affirms when it is performed, and in this gesture the interpreter has every right to express musically as it includes what is written in the pentagram.

In this sense, to what extent “modification”, or rather, reinvent the score at the time of execution? “The soundtrack is the great instrument of classical music, in the sense that the more it deepens, the more you can use the many parameters it offers. What you have commented on the style in which I find myself. Ringing Beethoven, the musical text plays a different role Compared to Villa-Lobos, for example, where it is part of other unqualified sounds and intentions.

It is from the reflections of this type that is better understood why Samba pro raphafrankly popular with Yamandu Costa, it seems “adequate” like the Cry in the rain De Lea Freire, which goes into practically academic landscapes, despite the “cry” of the title. Another important detail: in Samba reinventing Yamandu’s guitar, powerful, aggressive, wonderful invader of all spaces, in addition to crying absorbs the lightness of the flute of Léa Freire.

The last confession of the pianist a Estadão: “And then for me a field comes that I love to study, which is the history of the interpreters. We are emotionally accessing music through the human, so that the interpreter is closely linked to the composition. Support, but as co -creator.

Hence the presence of Mehmari, Lea, Raele, Bianca and Clarice. “Everyone starts from the principle according to which the interpreter has this autonomy, something also present in the same Radamés Gnattali and many other Brazilians. We see this lineage and we wanted to present it in the album.”

Luca Raele’s elegiac arrangement for the piano alone Festive kissToninho Horta’s masterpiece, a planetary success in the voice of Milton Native, is exciting. Like Erika’s plan “speaks”. Here’s how the interpreter actually becomes “co-creator”.

Listen Samba Pro Rapha (Yamandu Costa)

https://www.youtube.com/watch?v=yeffjarcqhq

Listen to Cry in the Rain (Léa Freire)

https://www.youtube.com/watch?v=5J3Yfozpzri

Listen to a festive kiss (Toninho Horta)

https://www.youtube.com/watch?v=vwkofscz5i

Source: Terra

Earl

Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.