Alicia de Larrocha, Beatriz Boizan, pianist Beatriz Boizan

Beatriz Boizan is a pianist with a compelling story


Beatriz Boizan was nineteen when she left Cuba. She arrived in Canada to celebrate her 20th birthday with a big, resounding YAY!

I spotted the pianist on You Tube in a performance of Haydn’s majestic Sonata no 52 in Eb. Recorded “LIVE” in concert, the playing revealed an engaging spontaneity and sparkle. Because I’d been studying the composition over a period of months, I messaged Beatriz about her edition and articulation choices. From her thoughtful replies and specific references to performance practices, sprang a full length interview that explores Boizan’s musical life and antecedents; cultural background and artistic pursuits.

About your beginnings as a piano student, tell me about your early years in Cuba. What was the artistic environment? Can you describe more about your grandmother who mentored you, and her musical training.

Yes, I’m Canadian of Cuban origin. Music was always in the air at home. My mother played the piano. My aunt is also a pianist and an Opera singer residing in Spain. We were all taught how to play the piano by my late grand-mother Esclarecida Guilarte (1910-2007) who was a special individual: incredibly charming and gentle.

She was self-taught and possessed an incredible intuition for music. She was my first piano teacher and specifically influenced me to learn and perform the “Danzas Cubanas” by Ignacio Cervantes (1847-1905). Performing his Cuban dances is my favourite moment in my recitals as I have the warmest memories from growing up in Baracoa (Cuba).

Cervantes: Danzas Cubanas

I lived in Cuba for the perfect amount of time. It was long enough that allowed me to consciously learn its culture (its extraordinary music, its language) but short enough that allowed me to make a smooth and positive transition to another culture when I emigrated to Canada.

As you very well know, Cuba has rich musical and cultural traditions which are not that straightforward. The multi-ethnicity given by a history that includes the aboriginal Taíno and Ciboney people in its origins, followed by the Spanish colonization and the introduction of African slaves, the Machado and Batista regimes, the Cuban Revolution, the close relationship with the former USSR yet close proximity to the USA, to mention a few facts, makes Cuba a complex cultural place and somewhat difficult to make sense of, especially as a child.

I was exposed to Classical Music from an early age: opera, art songs, piano music, and symphonic music. I still remember those memorable records from the 50’s by Vladimir Horowitz, Arthur Rubinstein, Claudio Arrau, Jascha Heifetz, Herbert von Karajan and Maria Callas, to mention a few, that my grand-mother used to play at home. I developed a special love for singers which I inherited from my aunt (my mother‘s sister) who is an opera singer. I accompanied her in public before I played my first solo piano recital. In a way, my relationship with singers started long before I thought of becoming a soloist.

Moving to Canada has been the most liberating experience for me. Oddly enough, when I was back in Cuba I was in no mood to play Cuban music. It is possible that being overexposed to it didn’t help. It wasn’t until I moved to Canada that I gained a true appreciation for our music and its contagious rhythms and melodies. For some years, I completely forgot about it and it wasn’t until recently when I recorded my CD PASIÓN that I revisited some of these compositions and finally embraced the idea of making a lifelong commitment to it. Being a modern Canadian woman has given me the strength, the belief and the confidence to bring this repertoire to life!

Who was your most influential mentor besides your grandmother?

It’s very difficult to pick just one. One very important phase in my life was the transition to a new culture in Canada which coincided with my transition to adulthood and definitely my training in the Canadian Universities had a tremendous impact on my development as a pianist and human being.

I consider Professors Rena Sharon (University of British Columbia) and Jacques Després (University of Alberta) the two most influential teachers during my University years. Sharon’s principal teachers were Menahem Pressler and Gyorgy Sebok. Després’ teachers were Christiane Sénart, Gyorgy Sebok, Adele Marcus and Gilbert Kalish. I found them very interesting in the sense that despite the stylistic differences, which are completely natural and to be expected, their approach to piano technique was very similar. It’s possible the fact that both were students of Gyorgy Sebok had something to do with that.

And in particular, tell us about your experience working with Alicia DeLarrocha. What was that like? What impression did she make upon you? (she’s known for having had very small hands, but possessing a dynamic technique, and of course, her Spanish music performances and recordings are memorable)

Did she influence you re: Your Latino/Spanish works, CD?

My studies with Alicia de Larrocha mark a very unique chapter in my life. At that time, I was also studying at the University of British Columbia under the guidance of Prof. Rena Sharon. I used to travel often from Vancouver to Barcelona to attend my piano lessons with Alicia which were in the format of master-class at the Marshall Academy.

I first listened to her records back in Cuba when I was four years old. My aunt introduced me to them by telling me: “please listen to this wonderful lady from Spain play Mozart so wonderfully and who has tiny hands like you”. I was mesmerized by the clarity and beauty of her sound. Her records, together with those by Horowitz, Rubinstein and Arrau were the main source of inspiration for my early years of piano training.

I still feel that the opportunity of being inches away from her and watching her play from so close was a dream. I still can’t believe that a girl from Cuba could have access to a piano legend like her. When I first played for her, my grand-mother was present. They met and chatted like a pair of ladies from the past. Being in the presence of these two very special people in my career was magic time!

Alicia was incredibly appreciative of my culture and shared some of the most charming stories about her visit to Cuba back in the 50’s. What a treat to hear her share those! Her knowledge of music was superb. Like my Canadian teachers Rena Sharon and Jacques Després, she was a firm believer on using proper arm weight and rotation as the most efficient way to execute with ease and grace at the piano as well as the importance of developing a vast dynamic range and solid musicianship for expression. Her extensive knowledge of the Catalan Piano School traditions definitely had a tremendous influence on my interpretations of the Spanish and Latin American Music repertoire, without a doubt.

Albéniz: Triana

Let’s talk about the Haydn you recorded on You Tube and various choices related to phrasing/articulation.

I’ve consulted several editions with the purpose of comparing and finding stylistic/dynamic differences, etc. Some examples are: Köhler/Peters, Martienssen/Peters, the Urtext editions by Henle Verlag, among others. However, a far more interesting aspect in my decision making for my interpretation of Haydn’s sonatas was the instrument for which these extraordinary compositions were written and how it differs from the modern grand piano. Haydn’s sonatas were originally written for the fortepiano which has a much lighter tone and less sustaining power than the modern piano. If the sound of the attack decays faster on a fortepiano resulting on having considerably less sustaining power than a grand piano, a slightly more detached articulation makes sense, generally speaking.

At this point of my development as an artist, I’m incredibly driven to give the most compelling and authentic interpretations of Haydn’s pieces to the best of my ability by using all the musical tools I know (rhythmic, melodic and harmonic design, the articulation and touch, the architecture, etc.) whether the result is the popular way or not. I’m fully aware I’m not playing a fortepiano and I’m a pianist in the 21stcentury with years of performing on the modern piano. It is my wish to bring these compositions with fresh ears to concert audiences and I’m willing to take risks as necessary to achieve this goal.

My passion for Haydn’s music started as a teenager and still today I’m drawn to him for his fun sense of humour and the joyful energy of his music which is infectious. His sonata in E-flat major H. 52 is a work of genius. The brilliance of his writing lies on his ability to convey emotions that range from extreme laughter to the deepest sorrows by simply using the basics of music: rhythm, melody, harmony and structure, without the need to add any extra artifice or excessive embellishments. Haydn excels in this to such degree that if by any chance the interpreter doesn’t understand how those basics work and apply to the choices in articulation, timing and touch, he can very easily expose any weakness in his/her musicianship. Haydn is an assertive composer, a man of wisdom and his compositions are a thrill to perform.




What do you see in your future as a pianist?

I wish to show the whole world how beautiful Classical Music is whether through the compositions of Haydn, Cervantes, Liszt, or Lecuona, to mention a few. I specifically admire Cecilia Bartoli because of her unique love for Baroque music, her determination to bring it to concert audiences and to create awareness towards obscure compositions from this period. I have a similar desire with the Spanish and Latin American repertoire as my niche and passion.

Ponce: Estudios de Concierto #8 and #1


classissima, F# Major scale, piano technique, scales and arpeggios,, you tube,

A Romp through F# Major scales and arpeggios

F# Major Scales

F# Major, from a certain perspective, happens to be one of the easier scales to play because it falls into patterns of triple black and double black keys with thumbs meeting in between. In fact, both hands have mirror fingers on the black notes. That’s why piano teachers will often introduce the F# Major scale to their students before commencing C Major, G, D etc. and others in sequence around the Circle of Fifths.

The composer, Chopin, chimed in, and taught B Major, F# Major and C# Major as as beginning scales because of their black key symmetry.

The challenge, however arises when F# Major among other scales are played in various permutations. For example, in 6ths–either with the RH starting 6 notes above the root, or with the Left beginning 6 notes below the root.

While the player can still travel through double and triple black notes with preset fingers, the relationship between the hands change as the playing unfolds. (adjustments are also frequently made at the beginning and end of many permuted scales and arpeggios)

For Arpeggios, a new center of gravity must be established on ALL black notes, F# A# C# F# since these skinny ones demand keen centering for fluid phrasing, speed, and accuracy.

In my first video I take a romp through F# Major scales and arpeggios in various forms: Root position parallel motion, then adding 6ths, 10ths.. and some contrary motion routines, too.

In this second instruction I demonstrate how to work up and develop a stream of F# Major 4-note arpeggios in legato, with a roll-in/loop around motion.

To prepare: I block out 4-note chords by inversion. (A helpful routine to reinforce fingering as well)

F#, A#, C#, F#;, A#, C#, F#, A#; C#, F#, A#, C#; F#, A#, C#, F#;

Fingering for the RH
1, 2, 3, 5; 1, 2, 4, 5; 1, 2, 4, 5; 1, 2, 3, 5

Fingering for the LH
5, 3, 2, 1; 5, 4, 2, 1; 5, 3, 2, 1; 5, 4, 2, 1

In brisk tempo, as with all playing, presence of mind, and natural, relaxed breathing help.

piano addict, piano pedagogy

Piano Technique: Practicing Arpeggios in 10ths, and in Contrary motion

I’ve selected broken chord chains or arpeggios (harp-like figures) that have symmetries between the hands when played in 10ths, and separately in contrary motion. Taken together, these are not pedantic exercises, but expressive romps over many octaves culminating in a rotation at the turnaround to the descent in pleasing contour.

In the second instruction, my computer seemed to run out of bytes, so E Major was not included in the contrary motion grouping that should have had D Major, A Major and E Major lumped happily together.


piano addict

Piano Technique: How to organize and practice a Major scale in 6ths

I chose the Ab Major scale as my springboard for this demonstration.

Its KEY SIGNATURE has the mnemonic BEAD (Bb, Eb, Ab, Db)

I recommend practicing the scale hands alone at first in its Root position to clarify fingering. Then by playing up the scale in the Right Hand to the sixth note, we land on F. (played by the thumb) The left hand begins on starting note Ab with finger no. 3. (six notes BELOW the RH)

Both hands will be journeying by a sixth interval between them, with a slight alteration of the generic Right Hand fingering at the scale’s end when finger 4 lands on the final F, avoiding an awkward thumb under 3 going up and in reverse, when the turnaround for the descent occurs.

All is explained, visualized, organized and DEMONSTRATED in the attached video which utilized a LOGITECH web cam placed over my left shoulder. (I recorded using MOVIE RECORD–on Facetime)

A panoramic keyboard view seemed to provide the best dimension for this step-by-step journey in 6ths.

LINK: Ab Major/minor HOPPING (parallel THIRDS) in PENTASCALE form (Five-finger position)

Shirley Smith Kirsten

Piano Technique: A styled staccato with a dipping wrist

I find that adding supple wrist dips to staccato within any dynamic range helps to style and shape lines, phrases, etc.

Here’s it’s first executed within a scale framework. A cat cameo appearance is the opener.

Now a sample of shaped staccato in the soft range, played after a nicely contoured legato. (just snip it out) This is preceded by a direct forearm staccato example.

Basically, staccato can be expressed in many shapes and forms depending upon what the music dictates.

Piano World,

Appealing Piano Repertoire for the Advanced Beginner

Three selected short pieces offer musical enticement for students who’ve survived the method book phase and need rejuvenating connections with the masters, albeit via contemporaries of the glittery Classical era giants.

In one instance, I discovered a gem dating back to the Elizabethan era. It happens to be a re-do of “Go No More A’Rushing,” tastefully set in contrapuntal form by Willard Palmer. The two-part Invention format and Picardy third ending are ear grabbers.

Go No More A'Rushing

Go no More A' Rushing p. 2

The remaining winners are the James Hook Minuet, and D.G. Turk’s “Sadness.”

All the aforementioned offer an opportunity to nourish expressive phrasing with fluid, supple wrist motions. In short, the journey through music of substance becomes rewarding for both student and teacher.

Minuet by Hook

Turk Sadness

piano blog

Revisiting Schubert Impromptu in Eb, Op. 90, No. 2

Since I have two students immersed in this gorgeously spun out Impromptu, my review has been perfectly timed.

Schubert’s composition challenges the player to be lyrical through swaths of triplets. These roll out as fast but contoured melody.

Laying a good learning foundation requires attentive listening and a well-conceived fingering tied to Slow practicing.


The contrasting middle section catapults the player into a high energy, punctuated zone, before a return of unwavering triplets spill into a climactic CODA (borrowing the middle section motif) in bedazzling ACCELERANDO.

Without a doubt, a composition of this magnitude should be practiced in baby steps.

Schubert on the Baldwin grand (a Coda snatch)

An Adult Student at the beginning of her
Schubertian journey

(Her approach is patient, deliberate and deep layered)