Eduardo was interviewed today by La Capital, the newspaper of his hometown Rosario, Argentina.
The Rosarino Eduardo Delgado has given concerts in the major capitals of Europe, America and Asia. And of course in Rosario, where he returns periodically. Widely praised for his work, teaching at California State University Fullerton since 1996 and with intense professional activity, before returning to his agenda, he spoke with LaCapital. The artist spoke not only of his work, but in addition his concerts, the release of a CD to benefit those affected by the tsunami in Japan, the general state of culture and particularly in Argentina.
- What is your assessment of your growth and evolution as an artist?
-My growth has been a steady progression through incorporation of new works and different styles, with a deeper understanding of them including knowledge of the life of each author. I believe I have balanced the side of virtuosity to reach the heart of the music. It's a long process where you need solitude and somewhat monastic life.
- In interpretation must one deprive the subjective or objective?
-The two must be present. First the style, structure and form of the work. After that interpretation, which is what differentiates us from other artists. For me the sound quality in all its colors and intensities is very important, like a beautiful painting by Michelangelo, Rembrandt and Monet. The nuances, creating sounds that resonate and float in the room is what attracts the public and makes the artist enter another world.
- What is your opinion regarding the evolution of culture in recent years?
'I think the culture has changed more than grown. Internet, computers and cell phones make the younger generation want everything too fast. Unfortunately true art needs its process and time. Eastern countries have undoubtedly grown thanks to Western contact. They have built many beautiful theaters all with fantastic piano care and respect like gemstones. Once in Tokyo I had to choose a piano for a recital. I walked into a room with temperature especially for pianos: you could choose between a German Steinway, a Bosendorfer or Yamaha. The room was a bit cold and I asked if they could change the temperature. They made me wait and I brought a coat: the pianos were more important and should maintain their own temperature! How far we are from all this and how we learn.
- What about popular music whether rock, pop and other music styles like jazz? Do you see them as competitors of academic music?
-There is no competition. Respect each and each has its place in its nobility or vulgarity: the public should know the difference. Popular music is subsidized and supported by companies and firms that create more audiences.
- What is won and what is lost in this race as an artist?
-I am optimistic and positive. I prefer not to regret because you always learn from what goes wrong. My life has been and is wonderful. I consider myself privileged in many ways. Being a teacher I get the soul which helped me become a better soloist. And studying for concerts made me a better teacher. I belong to a fantastic and passionate generation . And I had the pleasure and honor to have as a friend Alicia de Larrocha and say that Martha Argerich is my friend. I have lost nothing: only profits that have enriched my spiritual, personal and musical life.