Biography
(Please hold mouse over pictures for captions)
José Vianna da Motta was born in Sao Tome on April 22,
1868. His family moved to
Lisbon while he was still a child and it was there that his unusual talents
for music received their first decisive stimulus. He attended the Conservatory
of Music and by 1881 was giving his first public concert, with a program
including works of his own composition. Prince Dom Fernando and the Countess
of Edla were quick to appreciate his precocious talents and decided to
sponsor his studies. Consequently, immediately after finishing his tertiary
studies at the age of only fourteen, he went to Berlin to seek new educational
and artistic horizons. "I traveled there in October 1882", recalled
the Master in later years. "From then until May 1914, I lived in
Germany interrupting my time only for performing tours in Europe and the
two Americas. Thus I was able to observe at close hand the incomparable
world of music in Germany during the transition from the nineteenth century
to the twentieth, one of the richest periods ever in the history of music
in all respects: creation, interpretation, aesthetic and philosophical
research, and historic and academic discoveries."For the first three years, he attended the Scharwenka Conservatory where he studied piano and composition. It was no time at all before he became strongly attracted to Wagner's work and personality. Years later he would display his profound knowledge and purist support in countless conferences and papers, and also in his constant assistance with the "Bayreuth Blatter". Later on, he had a valuable encounter with Liszt in Wiemar. He described the beginning of this relationship in the following way: "It was in July 1885, at around three o'clock in the afternoon. When I entered the room where Liszt received people, it was packed. The Master was a majestic figure dressed in a long Abbe coat. He had a serene, severe expression which was not intimidating but rather paternal. He was standing, surrounded by a sea of heads of all descriptions, of which the female variety stood out for the familiarity with which they addressed him. Internationally famous artists who were there on that occasion included Stavenhagen, Friedheim, Lamond, and Adele. After I was introduced, he invited me at once to sit down at the piano where I played his study 'Ronde des Lutins'. He did not stop me but after I had finished he said, 'A little more cautiously; don't rush into the start. You can come back.' This last sentence was my dream come true: I had been admitted to Liszt's circle". 
In fact, the great Hungarian pianist showed increasing interest towards
his young student, inviting him to meet up with him in Rome the following
year. This direct, rich contact with the marvelous Liszt school, of which
Vianna da Motta would shortly become one of the most brilliant exponents,
was sadly cut short by the death of the composer of the "Preludes".
However, it continued on another plane through meetings and studies with
Hans von Bulow who had no doubts about giving him a star position in this
brilliant piano tradition, alongside Eugen d'Albert. Vianna da Motta quickly
won secure international prestige with the concomitant need to travel
endlessly although he retained Berlin as his base. He gave frequent solo
concerts and performances with orchestras and also worked with other famous
musicians of the period such as Ysaye, Sarasate Nachez, Emile Sauer and
Gabriele Wietrowerz, the cellist Heinrich Grunfeld and singers Amalie
Joachim, Hermme Spies, Marcella Sempbrien, Elena Gerhardt and Francisco
de Andrade. His first trip to the United States of America took place
in 1892 and he only returned in 1906 having achieved major success there
and in Brazil and Argentina. In Berlin he continued to enjoy a unique friendship with Busoni. The Italian pianist dedicated his transcription of chorale preludes to him "for having understood so well his editions of works by Bach". "We were Linked by a true communion of ideas", told the Master, "although we could never agree on two points: one was (in my opinion) his excessive admiration for Berlioz, and the other was my admiration for Wagner which he never shared". As is sometimes the case, this friendship grew stronger due to the liveliness of their arguments. This was noted with irony in the words Busoni wrote to Vianna da Motta when he sent him the second edition of his "Aesthetics": "To his now doubting, now believing, near, distant, approving, rejecting, constantly faithful and highly esteemed friend". Busoni scored two cadenzas for Mozart's piano concerto in E flat minor for Vianna da Motta and the Portuguese pianist performed them under Busoni's baton in Berlin in 1913. This event completed an exceptionally brilliant period in his career. The change in atmosphere which was just about to emerge with the outbreak of the First World War coincided with the development and crowning of his personality in a wealth of magnificent diversity which would lend him much greater depth. The concert pianist continued to attract new applause throughout his countless triumphs. However, other important chapters in his activities now began to emerge which shall be mentioned in closing this short biographical essay as elements which define his true stature in our musical history. His qualities as a teacher were revealed in 1914 when he took over the piano class in the 
Geneva Conservatory, following on from Stavenhagen. In 1917, he settled
at last in Lisbon and shortly afterwards he was appointed Director of
the National Conservatory where he played an all-encompassing, productive
role. There is not enough room here to enumerate the brilliant students
he produced as his strong influence has been felt through many generations
of pianists and teachers. During the 1919 and 1920 seasons, he directed
a series of symphonic concerts in Lisbon's Politeama, confirming the unusual
breadth of his musical knowledge. His talents as a composer are reflected
primarily in his piano works and the "Patria" Symphony. Vianna
da Motta played an outstanding role in the development of Portuguese music
thanks to his input into the nationalist school with its folk inspiration.
Another two particularly valuable points should be added to this wide
range of talents: his magnificent edition of the great masters of keyboard
music (Liszt, Beethoven, Schumann, Chopin and some studies by Czerny)
and the countless works he published, namely a biography of Liszt and
the essays and recollections included in the "Music and German Musicians"
books. In 1927 he represented Portugal in the commemorations of the centenary of Beethoven's death in Vienna. He himself made a valuable contribution to the commemorations by performing all thirty two Beethoven sonatas in Lisbon in a memorable series of recitals in the Conservatory. The profits from these were used to set up the Beethoven prize. The extraordinary talents which had made him one of the greatest pianists of his time meant that he retained his qualities practically until the end of his life. He passed away on 1 June 1948. In 1945 he had performed for the last time in Lisbon appearing with National Radio Broadcasting Orchestra under the baton of Pedro de Freitas Branco in a spectacular performance of Liszt's "Dance Macabre". The audience gave him what appeared to be an endless standing ovation in admiration for this outstanding pianist and in homage to one of the greatest figures in our musical history. |
|Home| |Competition| |Vianna da Motta| |Sequeira Costa| |VMF Records| |Newsletters|