Tireless composer

Tell us a little bit about this new album «Dez dedos de conversa»…

Luís Conceição: It was only recorded a little while ago. It’s the product of three years or so of composition – although most of the music was written relatively recently, between 2009 and 2010. The pieces are all original, for the solo piano – only one of the tracks is a “version” of that immortal work by Maurice Ravel: «Bolero». I changed a few of the harmonies and rhythms and put it all together a little differently – well, presented it in a completely new way.

So how has it been accepted?

It’s selling pretty well. I still haven’t been able to find a music publisher for my work in Portugal, so it’s another album that I’ve put out myself – with the help of three sponsors. But I’m seeing that the public is receptive, and sales are very positive. I’ve been selling my discs at my concerts, too, and people buy them and place orders through my website from all sorts of countries in Europe. Right now, I am in negotiations with a small independent music publisher over a Dutch edition of the album.

Did you have a particular public in mind when you made this disc?

This kind of instrumental music is something that’s not very much part of traditional Portuguese culture. It’s a little different in as much as people always associate music with the singing voice – but as I think there’s a real dearth of instrumental music available, I decided to make a CD of original music for the solo piano. I think it has a niche – and I want to make sure that not all music is commercial. But that’s not to say I’m trying to be neo-intellectual. I’m not trying to be necessarily “deep”.

And what about your professional life?

I am a composer, a pianist and a teacher of various instruments at the “Academia de Música” in Tavira and at INUAF (the private university) in Loulé. I also lecture on the history of music and run courses, essentially for the piano.

And you can cope with all this at the same time?

No. It’s very difficult! Particularly because within my own artistic activities, I divide myself in various styles, and involve myself in many different things. For example, in October I’ll be touring the north of Portugal – presenting a completely new project. It’s called «Metropolis», and is the showing of that classic film by director Fritz Lang, accompanied by the piano, with my own music. I got all the necessary permission and cut the film a little so that it now lasts roughly an hour. In a way, it’s a revival of the role of the piano in silent movies of the 20s adapted to modern times! There were other films I could have used, of course, but I found this one very apt as it’s all about struggles between the working classes and their bosses. It has to do with the industrialisation of society.

Normally, the Algarve is on the periphery of centres for artistic creation. Do you feel any prejudice because of this?

No. I create music independently of being in the Algarve, or anywhere else. I love Tavira. My family hails from the Cachopo area, in the hills, but I think of this town as my headquarters. Remember, first I underwent academic training, then I took two degrees because I thought they’d be important in terms of forging my own career.

You give concerts throughout Europe. Do you notice any differences in your audiences?

Yes. For example, the French public is extremely receptive to the current avant-guard jazz musicians, and to the music of the 20th century. The Portuguese public is more taken with simple, direct music that’s easy to understand. The Spanish public is very nationalistic – so we have to take care to include Spanish composers! And the German public is fiercely classical. They love Bach and Beethoven. Strangely enough, the Brazilians are more and more open to all kinds of music. Contrary to what you might think – because of all that Forró music we import, it’s a country that’s leading the way with a huge number of degree courses in music at Brazilian universities…

And in Tavira?

Well, I have four or five fans here that come to all my concerts, the rest are foreigners. I think this is a phenomenon exclusive to touristy towns. But I am also very well looked after in Tavira. My work is supported by the local borough council and local cultural associations. I’ve never really encountered any obstacles in developing my art, nor in presenting my concerts.

In your opinion then, does the Algarve value its artists?

These days I really think it does, yes. A few years back, the answer would have been “no”. In those days only people from Faro or other major towns were valued as such – but now I think people are much more aware of the importance of supporting local, regional talent.

How did you first get involved with music?

I began studying it at the age of 5. Up until the age of 15 I had no contact with any other kind of music other than classical. Once I was 16, I was asked (and thank goodness for that!) to play in a piano-bar in Faro. That was 20 years ago. I began to develop a lighter kind of repertoire – get in touch with music by Frank Sinatra, The Beatles, etc. And since then, well, I haven’t stopped…

What’s composing about, for you?

There are different types of composers. I consider myself to be the intuitive type. What that means is that normally everything begins from a developing idea, from a melody, a harmonic sequence that later is developed in a very intuitive way. I don’t have fixed hours for composition. I am constantly “creating”. Just sitting at the piano, if I am in the mood, and I compose. If I am not in the mood, I’ll play, study, improvise. I’m not very disciplined on this level. I also write poetry and compose songs…

What attracted you to the piano?

I seem to remember, as a child I saw a pianist on the television. He was probably some kind of showman because he had a white piano – but what I remembered enchanted me. The whole shape of it, the contrast of the keyboard, the sound, the vibrations…

Do you still feel that way today?

The piano is 50% of my life. To remain physically and psychologically balanced, I need to play it everyday. It’s part of me. That’s just the way it is.

You teach music some of the time. Do we have young people with potential in the Algarve?

I’ve been asked this hundreds of times, and I like to “demystify” the whole question of musical schools. You see, I have my own particular opinion on the subject – maybe most of my colleagues disagree, but I do not consider that schools that specialise in teaching music make artists or musicians. They train people who are interested in music; the good listeners of the future. Good musicians train at home. They study everyday with dedication and tenacity. No-one becomes a great musician just by going to classes. Of course, music lessons help, but greatness has to come from the individual.

What is a good listener?

It’s someone who doesn’t just go to a Tony Carreira concert! Someone who has intellectual liberty and the capacity to listen to a string quartet, or an orchestra. A good listener isn’t simply someone who listens to classical music, or rock’n’roll or metal. He or she has to be like a good conversationalist – there has to be that critical sense, and in that respect, music schools play their part.

Thank you for the interview.