RAMIRO SCHIAVONI

Composer and pianist

Author

About

Born in the city of Florida, Uruguay in 1974, he began his piano studies at the age of 9 years old and quickly displayed musical skills, giving his first major concert as a soloist at age 17.

​As a teenager, he moved to Montevideo to finish Baccalaureate and then the Career in Communication Sciences, from which he graduated with 2 degrees in different specializations.

​His piano and music teachers have been María Luisa Kinley, Luz Failache, Ulises Ferretti, Homero Ramos Millán, Numen Vilariño and Eduardo Alfonso.​

Without the courage to apologize for iconoclasm, he stays away from competitions as well as scholastic academicism, a path that leads him to consolidate his artistic, self-taught, multifaceted and sensitive personality as he develops as a Pianist, Composer, Poet and Producer.

As a Pianist, he develops an intense activity in the official and independent field that has earned him the recognition of local and international critics.

​He has been a pianist for the Ballet Nacional del Sodre for the last 6 years, led for 5 years by Maestro Julio Bocca and has held positions as a pianist at the Sodre Artistic Training Schools, both in Lyrical Singing and in Classical Ballet.​

He has been accompanist pianist for over 15 years of the great Uruguayan tenor José Luis Pomi with whom he will offer numerous recitals throughout Uruguay. Likewise, he has played as a pianist accompanying and chamber musician of countless instrumentalists, choruses and lyric singers in the departments of Montevideo, Salto, Canelones and Florida.​

He has recorded an extensive commercial discography of more than 60 titles and in constant growth, with international sales in places such as iTunes, Amazon, CDBaby and Spotify and he is the creator of the collection of discs ‘Emotional Ballet’ also of international sale, music specifically arranged for dance classes.​

Many of his interpretations have been systematically disseminated in Sodre's Radios for more than 15 years.

​In 2016 and 2017, he is invited by the Embassy of the State of Qatar in Uruguay to celebrate its National Day, as one of the representatives of the Uruguayan culture.

In 2017 he is invited to participate in the most prestigious Musical Festival in Uruguay - 'Uruguay sings to the Virgin of the Thirty-Three' - in his 23rd. edition, carried out in the Basilica Cathedral of the Florida town, where he was also been distinguished with the 'Plaqueta Virgen del Pintado' - the highest cultural award in Uruguay-, a recognition that for years has been given to personalities of Uruguayan culture for their artistic career and contribution to culture.​

His homonymous YouTube channel has more than 2.000 videos of his concerts as soloist, accompanist and his discography with almost 1 million reproductions, something quite unusual for a classic Uruguayan musician.​

The musical activity has led him to cross the most diverse stages of Uruguay as well as to appear in cities of Italy, Spain, Brazil and Argentina.​

As a Composer, he launches in 2014 two Pop music discs called ‘Versions of me’ and its Spanish version ‘Versiones de mí’ with 11 songs of clear melodies and deep lyrics in different sub-styles and great vocal difficulty.

​In 2016 he presents his Preludes for Piano cycle called '14 Minimalist Preludes of Loves Hurt' dedicated to his parents, intimate and descriptive scenes, of great aesthetic sensibility and some of them of considered technical skill, many of which saw their birth to his 17 years and they have had the recognition of local criticism.​

​In 2017 he musicalizes one of the last poems by the award-winning Uruguayan writer Raquel Martínez Martínez -'Gubernatrix Cristata' (Cardenal Amarillo)- which has been widely accepted in the Montevidean musical scene.​

In 2017, on the occasion of the centenary of the creation of ‘La Cumparsita’, the most famous tango in the world, he compiles, arranges and creates variations on the original theme, resulting in a piece that has been cataloged as 'the best 'Cumparsita' for piano soloist of all times', in the words of the authorities of the National Academy of Tango in Uruguay.​

As a Poet, he writes his first verses at age 15 on a road he can no longer abandon. He has edited 3 books: ‘Poems from a cloud’, ‘Poetry without shame’ and ‘Hidden poems’, with more than 300 poems published in a direct, honest and always sensitive style. His poems have been published in the Spanish magazine ‘Letras de Parnaso’ and in the Uruguayan magazine ‘Tertulia & Música’.

He has been the producer of several Uruguayan pianists and singers and he is his own producer and publisher of his albums, books and scores.​

​You can find more information about his work on his pages:​

· YouTube: https://www.youtube.com/user/ramiroschiavoni

· Facebook: https://www.facebook.com/ramiroschiavoni

· Contact: ramiroschiavoni@gmail.com​

​ Some critics received as a Pianist and Composer

■ EDUARDO GILARDONI - 'Sinfónica' Magazine, Montevideo - 2017

'Ramiro: It's great!, all sensitive inspiration coupled with a sure and mature technique. With this Cycle of Preludes you have entered the list of our Good Composers. Congratulations and thank you!'​

​■ LEONOR BOUTON DE CARREROU - ‘Sinfónica’ Magazine, Montevideo - 2015

‘He is an exceptional pianist with refined technique and splendid sound. His sensitive spirit is noticed in his ex-celent interpretations that denote a solid professionalism that we only find in every artist of great experience.’

​■ NELSON GIGUENS RISSO - ‘Sinfónica’, Montevideo - 2006

‘True artistic personality, definitive, because of the wide range of styles, clever programmatic composition, technical perfection, soul variety, memory security, interpretive specificity [...] This young Uruguayan has the level of a great international master without exception, evidencing deep study, mature knowledge, radical intuition and consummate experience.’

■ FERNANDO GONZÁLEZ -Diario ‘El Heraldo’, Florida - 2004

‘If what Ramiro proposed was to impress us, he succeeded by approaching the said compositions with the ease of a master and the fluidity of a chosen one.’​

​​ESPAÑOL​

Nacido en la ciudad de Florida, Uruguay en 1974, comienza sus estudios de piano a la edad de 9 años y rápidamente muestra aptitudes musicales, brindando su primer gran concierto como solista a los 17 años.​

En la adolescencia se traslada a Montevideo para realizar los estudios de Bachillerato y luego la Carrera en Ciencias de la Comunicación, de la cual egresa con 2 Títulos en diferentes especializaciones.​

Sus maestros de piano y música han sido María Luisa Kinley, Luz Failache, Ulises Ferretti, Homero Ramos Millán, Numen Vilariño y Eduardo Alfonso.​

Sin ánimos de apologizar por la iconoclasia, se mantiene alejado de concursos y competiciones así como del academicismo escolástico, camino que lo lleva a consolidar su personalidad artística, autodidacta, polifacética y sensible al desarrollarse como Pianista, Compositor, Poeta y Productor.

​Como Pianista, desarrolla una intensa actividad en el ámbito oficial e independiente que le ha valido el reconocimiento de la crítica local e internacional.​

Lleva 6 años como pianista del Ballet Nacional del Sodre dirigido los últimos 5 por el Maestro Julio Bocca y ha ocupado cargos de pianista en las Escuelas de Formación Artística del Sodre tanto en Canto Lírico como en Ballet Clásico.​

​Ha sido pianista acompañante por más de 15 años del gran tenor uruguayo José Luis Pomi con quien brindara numerosos recitales por todo el Uruguay. Igualmente, se ha desempeñado como pianista acompañante y camarista de inmumerables instrumentistas, coros y cantantes líricos en los departamentos de Montevideo, Salto, Canelones y Florida.​

​Lleva grabada una extensa discografía comercial de más de 60 títulos y en constante crecimiento, con venta internacional en sitios como iTunes, Amazon, CDBaby y Spotify y es creador de la colección de discos “Ballet Emocional” también de venta internacional, música específicamente arreglada para clases de danza.​

​Muchas de sus interpretaciones vienen siendo sistemáticamente difundidas en las Radios del Sodre desde hace más de 15 años.​

En 2016 y 2017, es invitado por la Embajada del Estado de Qatar en Uruguay a la Celebración de su Día Nacional, como uno de los representantes de la cultura uruguaya.​​En 2017 es invitado a participar del Festival Musical más prestigioso del Uruguay -“Uruguay le canta la Virgen de los Treinta y Tres”- en su 23a. edición, llevado a cabo en la Catedral Basílica de la ciudad de Florida, donde además es distinguido con la “Plaqueta Virgen del Pintado” -máximo galardón cultural del Uruguay-, reconomiento que desde hace años se otorga a personalidades de la cultura uruguaya por su trayectoria artística y aporte a la cultura.​

Su canal de YouTube homónimo, cuenta con más de 2.000 videos de sus conciertos como solista, acompañante y su discografía y con casi 1 millón de reproducciones, algo bastante inusual para un músico clásico uruguayo.

​​La actividad musical lo ha llevado a recorrer los más diversos escenarios del Uruguay así como a presentarse en ciudades de Italia, España, Brasil y Argentina.​

​Como Compositor, lanza en 2014 dos discos de música Pop llamados “Versiones de mí” y su versión en inglés “Versions of me”, con 11 canciones de melodías claras y profundas letras en diferentes subestilos y de gran dificultad vocal.​

En 2016 presenta su ciclo de Preludios para Piano denominado “14 Preludios Minimalistas de Amores Dolidos” dedicado a sus padres, escenas intimistas y descriptivas, de gran sensibilidad estética y algunas de ellas de destreza técnica considerada, muchos de los cuales vieron su nacimiento a sus 17 años y que han tenido el reconocimiento de la crítica local.​

En 2017 musicaliza uno de los últimos poemas de la laureada escritora uruguaya Raquel Martínez Martínez -“Gubernatrix Cristata” (Cardenal Amarillo)- que ha tenido gran aceptación en el ambiente musical montevideano.​

En 2017, con motivo del centenario de la creación de "La Cumparsita", el tango más famoso del mundo, recopila, arregla y crea variaciones sobre el tema original, resultando en una pieza que ha sido catalogada como "la mejor 'Cumparsita' para piano solista de todos los tiempos", en palabras de las autoridades de la Academia Nacional del Tango en Uruguay.​

​Como Poeta, escribe sus primeros versos a sus 15 años en un camino que ya no podrá abandonar. Lleva editados 3 libros: “Poemas desde una nube”, “Poesía sin vergüenza” y “Poemas escondidos”, con más de 300 poemas publicados en un estilo directo, honesto y siempre sensible.

Sus poemas han sido publicados en la revista española “Letras de Parnaso” y en la revista uruguaya “Tertulia & Música”.

​Ha sido productor de varios pianistas y cantantes uruguayos y es su propio productor y editor de sus discos, libros y partituras.​

Puedes encontrar más información acerca de su trabajo en sus páginas de difusión::​

· YouTube: https://www.youtube.com/user/ramiroschiavoni

· Facebook: https://www.facebook.com/ramiroschiavoni

· Contacto: ramiroschiavoni@gmail.com​

​ Algunas críticas recibidas como Pianista y Compositor

■ EDUARDO GILARDONI - Revista “Sinfónica”, Montevideo - 2017​

“Ramiro: ¡Es buenísimo!, todo inspiración sensible unido a una técnica firme y segura. Con este Ciclo de Preludios has entrado en la lista de nuestros Buenos Compositores. ¡Felicitaciones y gracias!”​

​■ LEONOR BOUTON DE CARREROU - Revista “Sinfónica”, Montevideo - 2015

“Es un excepcional pianista con técnica depurada y espléndido sonido. Su espíritu sensible se advierte en sus excelentes interpretaciones que denotan un sólido profesionalismo que solo encontramos en todo artista de gran experiencia.”

​■ NELSON GIGUENS RISSO - Revista “Sinfónica”, Montevideo - 2006

"Verdadera personalidad artística, definitiva, ya por amplitud de estilos, hábil compaginación programática, perfección técnica, variedad anímica, seguridad de memoria, especificidad interpretativa. [...] Este joven uruguayo posee el nivel de un gran maestro internacional sin excepción alguna, acreditando estudio profundo, saber maduro, intuición radical y experiencia consumada".

​■ FERNANDO GONZÁLEZ -Diario “El Heraldo”, Florida - 2004

“Si lo que se propuso Ramiro fue impresionarnos bien que lo consiguió, abordando las referidas composiciones con la desenvoltura de un maestro y la fluidez de un elegido”.

Sheets

Interview

What does music mean to you personally?

Music is a way to express the most intimate of me. I am also a poet, but I began to express myself before by music rather than by poetry. I can say, music is another language to me, as Spanish, I feel it that way.

Do you agree that music is all about fantasy?

Well, certainly not. I use music to tell things about me and my surrounding world, and those are not fantasy at all. It is hard for me to make fantasy from my reality, since I use personal experiences to compose and to write as well. But of course, those who has more imagination than me, can, create fantasy and make music all about it, but at the end, in some point, I think all begins with a personal experience.

If you were not a professional musician, would would you have been?

Well, I have studied at least 4 careers and 4 profession all over the years. In fact I worked lots of years as a Professional Social Communicator. But I think I would have been a filmmaker, that way I could create my own worlds to show as I am doing now.

The classical music audience is getting old, are you worried about your future?

Yes, indeed. I see less and less young people on my own concerts. But those that I see, they come after to talk to me, so exciting about the experience, that brings me some kind of hope, I think. Old people know more about music and about being a musician, and when the congratulate you, they know what are the talking about. Young people is more impress about virtuosity than music itself and that makes me feel sad. The goal is neither of both, music should be all about feelings and how it makes you feel when you listen to it.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

Well, we cannot go blind when social medias are in the spot right now. But one feels some kind of pressure of ‘instant world success’ and ‘instant world recognition’, that it seems to me musician has to become some kind of entertainer. I live in a small country -Uruguay, South America- and here there is no manager agencies at all, you have to sell yourself every time, literally, and that is really disappointing and frustrating, one should be studying instead, music is hard. And if, on top of that, you have to be aware of social media, I guess I spend 2 hours a day on that, it gets really difficult to study properly every day. I think governments have to be present in this matter with proper cultural politics in order to help us reach this new audience.

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

I think in social medias, Internet above all, and one -as a musician- becoming more and more commercial, I mean, you see thousands and thousands of videos playing the same Beethoven’s Sonata, or the same Chopin’s Nocturne, and that is great, but lots of composer are being left behind by that commercial type of music consuming. Lots of beautiful music maybe never had the chance to be hear, really a shame.

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

Yes, I do. Of course I try to ‘innovate’ in some way when I play, because the same music has been played over and over again for decades now, and for great performers. If one wants to be listened, one has to show something new, something never shown, and that is really a difficult thing to achieve nowadays, due to the enormous background we have.

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

I think we musicians, must study. I think we cannot do more than create a profile on Facebook, YouTube or Tweeter and post there our job. If we started to act more as managers than musicians, then we simply don’t get enough time to study properly and bring a good performance to the audience.

Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?

I don’t have a creative process defined. I compose as an extension of me, as a language. In case of vocal pieces, lyrics and music come to me at the same time. In case of instrumental music, it is like a cascade of ideas and notes that I write down in a few days. Of course, my works are not that complicated -musically speaking-, but I try not to think too much, just let the thoughts flow. I don’t have any favorite piece, I was realizing over time that the perception of my own music changes as I grew up as a performer, and in case of vocal music, some singers had show me aspect of my music that I haven’t seen before. Music is dynamic, because is a message, and as such, it depends on who say that message and on who listen to it, and the possibilities are infinite.

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?

That is a huge field to explore. I am also a photographer and filmmaker, and back in time I made 2 photography cycles with my shoots and my performance, and I made 3 music videos, where everything -lyric, music and performance- was mine again. It was a wonderful experience, one feels complete and richer inside. I also have participated in vernissages and painting exhibitions playing my music or just playing, and again, wonderful experience. Music does bring such power to other arts, movies wouldn’t be such a rewarding experience -in all ways- without music, for example. But above all, music itself it is so powerful, as the most abstract art of all -because it uses the most abstract sense of all: ears- that expands your imagination and invite you to enter an unexplored world where everything is possible, that for me, as a musician of course, it is more than enough by its own.

Can you give some advice for young people who want to discover classical music for themselves?

That is a difficult question. Because music, as an art, it’s ultimate goal is to move you, to touch your heart and soul. However, it is really difficult to listen for example Bach, without any background music knowledge. So first advice: educate yourself to be prepare what you are going to listen to. Second one: listen random music 1 hour per day to discover which would you like the most and which composers do you feel closer. Third one: do not judge prematurely one composer by one piece; it is only that: one piece of him, it does not embrace the full personality of the composer. Try to listen more of him, composers are people like you, complex and diverse, give him the chance to surprise you.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?

I agree. In social medias, the musicians that has more fans are those who show more virtuosity and not necessarily more musicality. Of course music is a product, it always have been that, but not such a beggarly one. Music, and art in general, should be more about crying, getting excited, getting angry and getting sad due to the outstanding performance of the artist, and not getting astonished by the virtuosity -standing for velocity- of him.

Do you have expectations what regards your listeners, your audience?

Not really. They surprise me every day. Listeners are so heterogeneous that is impossible to expect anything concrete about them. It would be wonderful if apart from the time the took to comment and share one’s music, they spend some money on buying it as well. But you know, one is giving music practically for free every day -and we premiere composers the most- and people have really economic troubles theses days, that is totally comprehensive not to see music as a product in need, it is just 2 clicks away, every day, for ever and ever, and if you don’t post it for free, someone else replace your empty space immediately. Apart from the media, managers and theaters have to do their job to get audience for your concerts, but of course they look at the amount of fans you have before they hire you.

What projects are coming up? Do you experiment in your projects?

I am always running several projects at the same time. Concretely these days I am preparing myself to debut with orchestra as a soloist. I am recording a new CD for my collection of Ballet Piano Music and I am also recording 2 CD with opera singers as well. I always think of the future, and I am open the every possibility, every day. I am always studying and getting better (I think) every day and that is my main goal, to get better and better, to be better musician, better person, and perhaps in that whirlwind of emotions, forget for one second that a hundred years from now, none of my works will be listened or played anymore and none is going to remember me; I know my place.