Alba Ventura: "You don't have to be an expert, art touches you!"

We spoke with Alba Ventura on the occasion of an important date, this Tuesday at the Palau de la Música, where she will perform the complete interpretation of Isaac Albéniz's piano suite Iberia. A polyptych generous in rhythms and melodies of popular origin, which adapts to classical language, amplifying its evocative force and transcending any localist trait. This composition was already internationally acclaimed by one of the most important pianists of all time, a Barcelona native like Ventura. We think of Alicia de Larrocha, before whom Ventura herself performed some of the pieces it contains, within the framework of her training at the Marshall Academy with Carlota Garriga. A training that she would complete with long stays in London, where she has received the appreciation of both audience and critics.

Consolidated herself as a professor at the Liceo Conservatory and author of memorable recordings (the wonderful series of Études, on the Aglae record label), Alba Ventura stands out for her interpretive clairvoyance and the subtle touch of her pianism, which have led her to receive praise, once again, on the occasion of the publication of the first volume of Mozart's sonatas. Her precocious career began in public at thirteen precisely with the interpretation of a Mozartian concerto, the Jeunehomme, under the direction of Sir Neville Marriner. It is a pleasure to hear her reflections firsthand, with a warmth and spontaneity that prove not to be incompatible with interpretive rigor and, in short, her stature as an international artist.

--- The first time I heard you live was at the Auditori, conducted by Maestro Ros-Marbà, perhaps performing Prokofiev? It was a sensational concert! How do you approach your recital at the Palau, where you will play the complete Iberia suite by Isaac Albéniz?

--- A lot of time has passed since then! Yes, indeed it was with Prokofiev's third. Well, I feel very comfortable programming a work like Iberia. I already performed it a couple of years ago in Camprodón, the festival that has been organized for more than three decades in Albéniz's hometown, and I just did it ---last week--- in Jerez, where I was very well received.

--- An enormous composition, of great difficulty and length, which is rarely programmed despite its importance, associated with mythical pianists like Alicia de Larrocha in our closest context.

--- For years I have played a selection of pieces from Albéniz's suite. Because they are requested in several places, they are beautiful and a reference. But at the same time, they suggested to me "you have to do it all". And when the opportunity arose, I thought it was time to take on the challenge, and really do the marathon.

--- It is a real challenge, indeed, especially in current conditions, where very long breaks are not usually taken.

--- Playing all four volumes of a work like this requires a great mental and physical effort. Albéniz's Iberia is an endurance work, but one in which you have to be at your best all the time. Because many of the pieces it includes are quite athletic. You have to maintain a high level for a long time and you can even become dehydrated.

--- That's right, we are all very eager to go to concerts, to enjoy. It's a privilege not only to return to the stage but also to be an audience again. In general, we are more eager to go to concerts, not just to play. I went through a period where I mainly went to symphonic and chamber concerts. But I also attend piano recitals or opera.

--- Speaking of your Mozart, the new album released this year on Aglae ---the first volume of the complete piano sonatas--- has been nominated for several awards, if I'm not mistaken, thus confirming its excellent reception by the public.

--- Yes, especially considering it came out in the middle of lockdown! To the point that the factory that physically made the discs had to temporarily close. Indeed, it has been a finalist for the Enderrock Awards for best classical album, thanks to public voting, and is currently a finalist for the MIN Awards (Independent Music Awards). I am very happy, obviously, because it is a project that excites me and it's always nice to see that people value what you do.

The most difficult thing is to keep in mind and respect what Mozart could do with his instrument. You have to know what works and what doesn't, try to make it understood, prioritize clarity.

--- It's a style I've worked on a lot. Years ago, in London, I even studied fortepiano, it's one of the small things I miss. If I had an antique instrument at hand, I would surely launch into interpreting with it. And although the resources of the modern instrument are different, in the recording I wanted the stylistic criteria to be those of the era. Some issues of interpretive technique must be adapted, obviously, but others remain. The most difficult thing is to keep in mind and respect what Mozart could do with his instrument. The type of phrasing, the pedal, etc. You have to know what works and what doesn't. Try to make it understandable, prioritize clarity.

--- The first installment of your complete Mozartian works consists of two discs, but obviously there will be several volumes. In addition to the sonatas, will you include Mozart's piano fantasies?

--- Yes, this is the first volume of the three double discs that will be released, in total. One option we are considering, in fact, is to record the fantasies in the same recording project and even offer them as singles, on Spotify for example, before the next volumes appear.

--- Although you know the pieces perfectly, have you discovered anything new in the course of recording Mozart's sonatas?

--- You always discover new things. There is repertoire that no matter how much you have played it in concerts, when you have to record it, you work on it with another depth. Not better, but with a different type of concentration. The fact of not having the presence of the audience, which motivates you, changes everything. You don't have that point of feedback, which is always stimulating, and instead you seek to approach the version that satisfies the criteria mentioned above.

--- Many things are perceived, although sometimes it can be misleading. You can realize that a special magic has been created, that the audience is 100% with you, but on other occasions, when you sense that you are not reaching the audience ---and you say to yourself, "this audience is cold"---, it is not always like that. It could be an effect of the acoustics of the hall, which prevents the breath and applause of the attendees from reaching you noticeably. Or some similar issue. Because then people come to see you very happy, and it surprises you, because you hadn't noticed their accompaniment during the concert.

--- Of course, and each audience is different in each country, but they have always shown you a lot of esteem!

--- Yes, the truth is, I have always felt very valued, even if the way of showing it is different. There are very funny cases. For example, the Dutch audience is not cold at all. They are very enthusiastic. You go to play at the Concertgebouw and the hall stands up for you. But of course, you shouldn't believe it! Because they do it with everyone. So if in Holland they don't stand up for you, very bad sign! On the other hand, the British audience appreciates your work very much, but they don't show it with applause, as happens, for example, in Barcelona. The audience here is very warm, I can't complain!

The fact of understanding music makes you listen to it in a more intellectual way and you are missing a part of that intensity, experienced in the form of immediacy

--- The Barcelona audience is usually knowledgeable, although to enjoy music, really, you don't have to be. You don't need to be an art history expert to go to a museum and enjoy a Velázquez painting. Art touches you! Maybe one style resonates with you more than another. Or maybe after having learned or delved into some technical aspect of the work, you value it more, but that doesn't mean it can't move you without this knowledge.

--- Indeed, in the course of aesthetic experience, the question of taste ---as Kant already said--- is not directly linked to the objective determination of what takes place, even if that promotes an emotional reaction in the spectator.

--- The immediacy of the aesthetic impact you experience at that moment is what affects you... whether you are an expert or not. In fact, the expert's way of enjoying it can be more intellectual, less instinctive, by focusing on specific details, on the identification of technical issues, instead of letting themselves go. It happens to me sometimes. The fact of understanding more about music makes you listen to it in a more intellectual way and you are missing a part of that intensity, experienced in the form of immediacy.