Sequeira Costa is 83 years old, and despite the many hundreds of concerts and master classes under his belt, as well as a long discography, he still carries a strong desire to continue working.
Returning to Macau for a piano recital that took place on June 15 at the Macau Cultural Centre, the musician looks back at a career that has made him one of the most recognized names in piano.
Macau CLOSER: You performed your first recital in Macau in 1950. What memories do you have from that period and the city you knew at that time?
Sequeira Costa – I twice played at Dom Pedro V Theatre. At that time a lot of music was played at home, people spent a lot of time together and held concerts in private houses. I had the opportunity to meet many people and it was delightful, not only for the chance to play on different pianos, but also to meet people who played the violin, the cello and other instruments. It was very interesting, and there was a very high degree of artistic movement.
In the 1980s you returned to play in Macau and Hong Kong with the Gulbenkian Orchestra. Did you also sense changes in the Macau you encountered then?
I felt a huge difference compared to 1953. The first thing I saw when I arrived in Macau was a monstrous billboard that read 'Drink Coca Cola'. It was another copy of what I saw in so many other countries. There were thousands of bikes, more cars, the city was already much more evolved in that sense, and was noisier. The interest in music lived on though, mainly because there was a degree of curiosity to hear the classic repertoire. Still, I personally prefer the Macau of 1953.
On that occasion you performed in Hong Kong. How was your experience in the neighbouring city?
It was great, especially since Hong Kong had greater audience attendance in relation to concerts with performers and groups from Europe and international names. Later, in 1990, I presented myself with the Shanghai Symphony Orchestra and Hong Kong Philharmonic Orchestra.
And what was it like to play alongside Asian performers?
I played Beethoven’s complete five concertos for piano and orchestra and was enthusiastically received. I loved playing with the Chinese musicians from the Shanghai Orchestra. They completely obeyed the artistic conductor and did not speak during rehearsals. They only listened to the instructions of the conductor and to my interpretations – they took everything on with great respect, it was extraordinary. The same did not happen with the Hong Kong Philharmonic Orchestra, where the musicians were arrogant with the belief that they knew everything. The result? There was much greater artistic unity and cohesion with the Shanghai orchestra, it was great playing with them.
You came back to Macau to play a solo recital entitled "The Return of the Master". How do you explain your relationship with the city?
I was not the one to name the recital (laughing). As for the relationship, I have many people at home who have played in Macau and I have had several Chinese students who have worked with me, who knew me through the master classes that I have given around the world. There was a very firm and healthy connection. I have a student who is a professor at the Conservatory of Macau, and another in Hong Kong, who is the director of the music school of the Academy for Performing Arts.
In this concert there was room for Beethoven, Bach, Vianna da Motta, Aureo de Castro and Chopin. Is it possible to name the composer you like best?
I would say that composer is Chopin. I won’t say he is the one who pleases the most … he is the one with whom I have a greater connection. Chopin wrote primarily for the piano.
Your long career has offered you a unique place in music and piano, which extends far beyond Portugal. After many concerts and albums, is there still something you want to accomplish in professional terms?
I will continue, if allowed, to record more repertoires, but my interest, above all, is to keep the Vianna da Motta competitions, which I created in 1957, running. I ran 18 international competitions for piano. There was a golden period for those competitions, a mad enthusiasm for them. What pains me now is that we are reaching a point where there are no Portuguese pianists who feel brave enough to face public criticism and international juries, because they don’t even take part in the competitions.
Is this general crisis in Europe having an impact on music?
The situation is very bad. Without the resolution of this matter for the people, there is no chance for an individual to look forward to a brighter future. In relation to young musicians, what is most important is that they understand that becoming a great artist does not happen by chance – and this is very necessary.