The Concerto for Two Pianos and Orchestra that Wolfgang A. Mozart composed with his sister Nannerl in mind (an unbeatable partner in the games that many of his works propose), brings together two performers with very special stories that deserve to be told. Ignasi Cambra is a young pianist who shies away from the label of prodigy or virtuoso. Smiling, he struggles against some of the prejudices that could weigh against him and diminish his entity as a performer, under the pretext of playing in his favor.
Having the support and selfless collaboration of an interpretation legend like Maria João Pires can in no case be the result of chance, nor the outcome of some random circumstance. The Portuguese pianist, alma mater of the Partitura Project (which promotes the training of young promising performers), maintains a one-on-one dialogue with Ignasi in the main hall of L'Auditori. The complicity is evident in the general rehearsal and, of course, also on the decisive occasion (live), when they will treat the audience to a beautiful encore: the first movement of the "Sonata for Four Hands in D Major."
We follow Ignasi in his preparation for the concert, in the rehearsal prior to the meeting with Pires. A rehearsal with three grand pianos: two playing each of the solo parts (Ignasi himself and Keiko Ueno, in the role of Maria João Pires) and a third responsible for representing the orchestra (Anna Tarré). The real complexity of a truly light work is appreciated, as he will later remind us at his home, in an interview full of anecdotes. Ignasi Cambra demonstrates a tremendous awareness of his role as a musician, a responsibility that begins with the music itself but transcends the limits of any artistic practice. Whether understood as a gift or not, the act of shaping, with effort and sacrifice, that which is internally treasured, and making it fruitful for others as well, gives moral meaning to the profession.
It is impossible to determine a priori if Ignasi will follow in his mentor's footsteps regarding international presence, since, in this case, a myriad of conditioning circumstances intervene. But there is no doubt that his quality as an interpreter and his warmth as a person will illuminate the path of many others. Far from his intention to be an example of anything. And yet, his case arouses admiration. It warns of the unfathomable and also wonderful possibilities of the human being, while illustrating a dimension of the person (the properly moral one) that implicitly or explicitly accompanies the course of life.