'This learning method fosters an inner search, harmonizing emotion with thought and the body as a whole.'

Interview with Pianist and Teacher Beatriz Pedrini: Her Career, Piano Teaching, and the Importance of the CEP Joven Program in Training Young Talents in Argentina

By Maxi Luna

In your opinion, what impact does the ‘CEP Joven’ program have on the training of young pianists in Argentina, both in their technical-musical development and personal growth?

The Centro de Estudios Pianísticos (CEP) has historically fervently supported young pianists, and I can say this with firsthand knowledge, as I was present when María Rosa Ubiña de Castro founded the CEP. The objective has always been to support and promote young pianists in training, offering not only their vision but also that of the teachers invited for masterclasses. This tradition has continued under the direction of Sebastián Colombo.

The impact of the ‘CEP Joven’ program is very significant because it offers a variety of perspectives from different teachers, each with their own school and interpretation method. Students benefit from these diverse views and approaches regarding interpretation and technical development. Technique is not just about mechanical skills but about tools that allow for profound musical interpretation. Interpreting a piece does not mean simply learning the notes and solving technical difficulties. It involves an inner search, from physical sensations and body use to emotion and connection with the composer’s work. It is a holistic process that connects the body, mind, and emotions to achieve an authentic and expressive interpretation.

Maestro Sebastián Colombo has expanded CEP’s work, not only in Argentina but also abroad, using technology to offer virtual classes with specialized teachers in various musical disciplines. Although the classes are directed to one student at a time, those who observe and listen also benefit. They see what happens to the performer, which helps them reinterpret their own works and their attitude towards music and the instrument. This group approach allows students to interact and learn from each other, fostering enriching collaboration.

Participating, listening to each other, and being alongside other pianists and young trainees is very important. It promotes integration and collaboration among them, creating an environment of mutual support and shared learning.

Ultimately, we ourselves resonate through the piano and with the piano, conveying our emotions and thoughts to the music in a unique and personal way – Beatriz Pedrini

Besides technical and musical skills, what do you hope your students take away from the ‘CEP Joven’ program?

This year, I was invited as a teacher to be part of the CEP Joven program, where I will participate with young students previously selected from public and private institutions in CABA, Chivilcoy, and Junín, as well as the group selected for the meeting in Jujuy.

It is essential for young people to learn to understand what they are playing. We know that in youth, it can be more attractive to solve difficult and challenging passages without deeply considering the emotions behind the music. Therefore, we seek for students to understand what they are playing and the purpose of each piece.

Another aspect I will emphasize is the body: taking care of posture, muscle tone, the weight that falls by gravity, and working with the aim of not only achieving a good sound but also a conscious organization of movements and gestures. This helps avoid muscle and joint problems, making playing the piano a pleasure, knowing what to do and how to do it.

In this way, students learn to produce quality sound, manage dynamics, and explore a wide range of timbres and intensities, as if they had a palette of colors in their hands. This learning method fosters an inner search, harmonizing emotion with thought and the body as a whole. Thus, the delicacy of touch and the precision of articulation are developed, making the keyboard an extension of the body and a means of expression.

Ultimately, we ourselves resonate through the piano and with the piano, conveying our emotions and thoughts to the music in a unique and personal way.

Reflecting on your own training as a pianist, could you share any specific teaching or experience that has been key to your professional development?

Reflecting on my life as a pianist brings to mind many significant moments that marked my professional development. My career began at the age of seven, and one of the most special memories I cherish is the time when two neighbor sisters lent me their piano to practice, as my parents could not afford one at that time. This gesture of generosity left a profound mark on my heart and my career.

Later, one of the most important milestones was when I finished my studies at the Manuel de Falla Conservatory and had the chance to meet Anita Gelber, the mother of maestro Bruno Gelber. She not only transformed my way of playing but also my inner self, teaching me to interpret music in a deeper and more conscious manner. Anita taught me to scrutinize the score and play without impediments or pain, allowing my body to flow freely while playing. She provided me with all the necessary tools to achieve this, something that radically changed my way of playing and understanding music.

After much study and preparation, this led me to win the Vicente Scaramuzza scholarship in 1978, an achievement that marked a turning point in my life. Here, I must express my eternal gratitude to maestro Bruno Gelber, who guided and prepared me for this competition with great dedication and love for music. This was a milestone that defined my career, enabling me to advance with a deeper understanding and appreciation of music and the art of playing the piano.

What role do innovation and creativity play in your approach to piano interpretation and teaching?

Innovation and creativity are fundamental in my approach to piano interpretation and teaching. I always conduct a detailed assessment of my students, considering their personal characteristics, predispositions, and gestural tendencies, which are very important. A teacher must have a clear final objective for the student, but the paths to reach that point can vary according to the individual capacities and characteristics of each person.

Each student is different, with their own history and emotional conditions. Therefore, I like to use images and metaphors in my teaching. I often encourage students to find their own images and associations, which connects them with themselves and opens up their creativity. This active participation of their feelings and emotions in the learning process is very enriching, as it helps them to relax and express themselves more authentically.

How do you manage the balance between your artistic career and your responsibilities as a teacher?

I manage to balance my artistic activity very well with my teaching responsibilities. Ten years ago, I formed a duo with a pianist friend, and together we tackle repertoire for four hands and two pianos. One of the most challenging works we have studied and presented is Béla Bartók’s Sonata for Two Pianos and Percussion, which required months of intensive study but also provided us with enormous satisfaction by performing it in numerous concerts. Additionally, we explore universal repertoires and works by Argentine composers for two pianos and four hands.

For 37 years, I was a professor at the Manuel de Falla Conservatory, where I also studied and to which I am deeply connected. Upon retiring, I was able to dedicate more time to the individualized teaching of my students. This balance between my artistic career and my teaching work is perfect, as I use my free time to prepare my classes and study individually. Moreover, I have time for rehearsals with my duo, which I greatly enjoy after many years of performing in recitals, concerts with orchestras, and integrating chamber music groups. Working in chamber music has been very enriching, refining my skills as a pianist by integrating different groups such as trios, quartets, and duos with cello and violin.