tagliaferro

Magda Tagliaferro (her first name was shortened from Magdalene for the benefit of it fitting on bill boards!) was one of the most vibrant and stylish artists of her day. She was Brazilian by birth, and did much of her training in France.

There are in existence recorded interviews and snippets of her playing, the earliest of which is of her playing a short piece by Mompou, in a backless evening gown, seated at a French Gaveau concert grand.

It is said that her concerts were known as much for her stylish costumes as for her musical art, and after the interval she would emerge in yet another piece of finery. The corridors of the Paris Conservatoire where she taught were always filled a trail of her expensive perfume - she used to wear 'Joy' according to people who knew her well.

She did much study with Alfred Cortot, and apparently was not interested in his series of advances - 'because', she remarked, 'I am neither one eyed nor hunchbacked!' Despite this, it must be said that much of her great artistry must have been attributed to the great teacher, and musically, despite there differences, there were, ironically similarities.

Cortot was known to have been an artist who, in his latter days certainly, was not the most accurate player. Tagliaferro also had nights on stage when nothing would go right...as one critic commented, 'her fingers would falter, her memory would fail her, and Tagliaferro would leave the stage deathly pale'. That said, all artists are allowed their off days, and fortunately there are innumerable recordings of Tagliaferro which bear up well to scrutiny.

Her recording of Villa Lobos' Momprecoce which was dedicated to her, and which she recorded with the composer is a real gem, and there are moments of great vibrance in it, especially in the brilliant finale. Her recording of Chopin's Andante Spianato and Grande Polonaise is one of the brightest and most sparkling renditions, but it is perhaps her recording of Saint Saen's Egyptian Concerto which captures her at the height of her powers, in a work which relatively few performers have attempted.

In the same way as Cortot, when she gave master classes, those in the audience waited eagerly for the moment when the student would be swiftly removed from the stool, so that she could take her place at the Steinway, and show them how it was done!

Tagliaferro was playing up into her late 80s and perhaps beyond. Her last recital in Buenos Aires was a real occasion and was attended by the President of Brazil. For the occasion the piano she used was the Steinway which had belonged to that other great Brazilian pianist, Giomar Novaes.

It should also be borne in mind that her repertoire was also pretty extensive, she recorded the Hahn Concerto with the composer, made the first recording of Faure's Ballade, and had a style of playing which was very well suited to the Spanish repertoire. Her performances of Chopin and Schumann are also particularly worthy of note.