Miriam Gomez-Moran
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play hi-fi  Jos Luis Turina: "Due Essercizi"- I. Preludio
play hi-fi  Jose Luis Turina: "Due Essercizi" -II. Sonata
play hi-fi  Mozart: Rondo in D Major KV 485
play hi-fi  Liszt: Les jeux d'eaux à la Villa d'Este
play hi-fi  Liszt: Au lac de Wallenstadt
play hi-fi  Scriabin: Sonata op. 53
play hi-fi  Schoenberg: 3 Piano Pieces op. 11
play hi-fi  Schoenberg: 6 Little Piano Pieces op. 19
play hi-fi  Bartók: Bagatell op. 6 No. 2
play hi-fi  Barber: Excursions op. 20 No. 3
Alan Walker, author of the 3-volume prize-winning biography of Liszt, has said of her: "I was deeply impressed with her Liszt recital. Her performance of the "Weinen, Klagen" Variations was a tour de force, while her interpretation of the formidable "Vall?e d'Obermann" was the best that I have ever heard. It was not just a matter of technique, which she possesses in abundance. One was aware that a true artist presided at the keyboard".
Why this name?
Actually, it is my name.
Do you play live?
I have about 20-25 public performances a year, mostly in Spain. And, yes, I like it, although it sometimes can be very demanding when you have to keep a regular teaching activity because of much travelling.
How, do you think, does the internet (or mp3) change the music industry?
It is going to make us rethink the way we communicate with the audience.
Would you sign a record contract with a major label?
Why not?
Band History:
Miriam Gomez-Moran is a Spanish pianist, fortepianist and harpsichordist.

Born in Madrid in 1974, Miriam Gomez-Moran started studying piano at the age of eleven at the Real Conservatorio Superior de Musica de Madrid. Her teachers were Carmen Deleito and Manuel Carra. She attended the harmony classes of Jose Luis Turina and Jose Maria Benavente. During that period she received frequent advice from Josep Colom. She earned her degree ("Profesor Superior de Piano") in 1994.

From 1992 to 1996 she pursued postgraduate studies in Budapest at the Liszt Academy of Music under the guidance of Ferenc Rados. Other teachers were: Kornel Zempleni, Karoly Botvay and Zsolt Serei.

She then went back to Spain and taught for two years at the Music School in Villacanas (Toledo), before going to Freiburg im Breisgau (Germany) to study historical keyboard instruments at the Hochschule with Robert Hill and Michael Behringer, where she graduated with the highest marks possible for harpsichord and fortepiano performance ("Musiklehrer", 2000; "Kuenstlerische Ausbildung", 2002). During this period, Miriam also received piano lessons from Tibor Szasz and advice on harpsichord playing from Vital Julian Frey.

She has won many prizes at several national and international competitions: "Marisa Montiel", "Ciutat de Carlet", "Ciudad de Segovia", "Gregorio Baudot" (El Ferrol), "Patronato l'Arjau", "Concurso Internacional de Musica de Camara de Guadamora", "Mendelssohn Wettbewerb" (Berlin), etc. Her chamber music partners at some of these competitions were Josep Colome (violin) and Maria Rubio (horn).

Since November 2000 she is a Piano Professor at the Conservatorio Superior de Musica de Salamanca, Spain's leading music-pedagogical institution. She also teaches masterclasses and is the author of several articles on music.

Miriam Gomez-Moran performs and records extensively both as soloist and in chamber music ensembles in Europe and North America. Her permanent chamber music partners are Javier Bonet (horn) and M. Eugenia Boix (soprano). She is regularly invited to perform in festivals such as "The Great Romantics", "The Liszt Festival" (American Liszt Society), "Edinburgh Festival Fringe","Festival de Oto?o" (Madrid), "Tavaszi Hangversenyek" (Budapest), "Grandes Autores e Interpretes de la Musica" (Madrid), etc. Her CDs have been released by VERSO and ARSIS, among other labels.
Your influences?
Hungarian school (Rados), historical performance practice (fortepiano, harpsichord), Liszt (one can learn a great deal by studying his music carefully), etc.
Favorite spot?
Budapest, Hungary.
Equipment used:
It depends. I am asked to perform on modern pianos more often than on historical ones, and whenever that happens I use what is available at the concert hall. If I have to play on historical instruments, I bring my own harpsichord and fortepianos.
Anything else...?
I love cats!
In Mallorca.
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