MARIA INÊS GUIMARAES
Pianist, composer, musicologist
inesguimaraes@club-internet.fr
Maria Inês started studying the piano and the conservatoire of the
city of Uberaba, Minas Gerais, in Brazil. She went on to perfect her instrumental
technique in São Paulo with the pianist Eudóxia de Barros and Rafael Dos
Santos. She also attended master classes given by the concert pianist Magdalena
Tagliaferro. She also studed with Harry Swift, Jean Marie Machado and Bruno Wilhelm. From the outset of her career, Maria Inês has always devoted
a part of her programmes to both traditional and classical Brazilian music.
Thus, whether she is performing in Brazil or elsewhere, Bach, Beethoven,
Fauré and Kurtág rub shoulders with Nazareth, Mignone, Abreu, Villa-Lobos
and Antunes. In Chamber Music she'd played with Andrea Merenzon, Gilson Barbosa, Daniel Ramirez, Marcos Kiehl, Shinobu Saito, Aline Soulhat and Nathalie Villedieu-Afchain.
As concert halls are not always the ideal venues for experiencing popular
traditional music, she also performs in bars and cafés in both France and
Brazil. In this way, with her group Ilustrando o CHORO, consisting of
piano, flute, bass and Brazilian percussion, she is able to keep alive the
almost century old tradition of Chorinho. Because improvisation is her passion Maria Inês has founded the Duo Asymétrie with Brenda Ohana and in 2007 the Quartet with Bruno Wilhelm Paul Mindy and Dominique Muzeau. She is member of the group L’Attachement des Bobines created in 2006. At 2012, the Compagnie Le Feu Follet works with Maria Inês Guimarães : she has write the musique for the theather, Un Trône pour un Tyran ( from Richard III and Macbeth de William Shakespeare), prepared piano.
In France, Maria Inês has worked on the piano with Ana Stella Schic and Françoise
Parrot-Hanlet at Paris’ Ecole Normale de Musique. Since December 1996 she
has held a doctorate from the Sorbonne University in Paris. This doctorate
enabled her to study the works of the Brazilian composer Lobo de Mesquita (1746-1805), under the supervision of Edith Weber. Her thesis was published
by Presses Universitaires du Septentrion in 1997.
Her career as a musician is complemented by the free improvisation, the publication of articles,
books and scores as well as her post as professor at the Conservatoire of
Antony, in the Paris region. Maria Inês has also brought out ten recordings
as both artist and composer.
RECORDINGS:
to buy CD scoremusic
Alma Brasileira (1993, Vibrato Musique) which
the critic form the newspaper "O Globo" in Rio de Janeiro hailed as one of
the year’s best releases in Brazil;
Alberto Nepomuceno - piano works (1994,
Marco Polo);
Henrique Oswald - piano works (1995, Marco Polo);
Fronteras
latinas with Andrea Merenzon (1997, Irco-Cosentino/Rádio Clásica);
Villa-Lobos - Saudades das Selvas Brasileiras (2000, Pavane);
Danses et oiseaux du
Brésil featuring her own compositions (2003, Éditions Billaudot), which
accompanied the two pedagogical collections of the same name
by Maria Inês;
Axuí - Ilustrando o choro (2004) with original arrangements
of Brazilian pieces, choros, and compositions by Maria Inês;
Contrepoint:
Villa-Lobos, Kurtág (2006, Integral classic).
Primavera:(december 2009, Integral classic).
In 2000, La nuit transfigurée released a recording of Lobo de Mesquita’s
1782 work Dominica in Palmis for which she acted as musicological supervisor.
Maria Inês Guimarães also works to promote Brazilian music through the activities
of the Euro-Brazilian Centre (Cebramusik) and the Choro Club of Paris. More information.