Pablo Panaro is a piano accompanist at the Instituto Villa-Lobos of the Universidade Federal do stado do Rio de Janeiro (UNIRIO, Brazil). He holds a bachelor’s degree in music composition (2007) and a masters degree in Musical Education (2011) both completed at UNIRIO. He completed a post-graduation programme in Piano Accompaniment at the Conservatório Brasileiro de Música (2014). In 2011, he received the Funart Classic Composition Award with the piece “Mar de Sargaço”, for chamber ensemble. From 2010 to 2016, he performed as piano accompanist and arranger of the Children’s Choir of the Orquestra Sinfônica Brasileira. From 2008 to 2014, he was a pianist for the Ensemble de Música Contemporânea GNU. Currently, he is a student of the Doctoral Programme in Music – specialization in Performance Studies, at the University of Aveiro.
Piano Cover: Laboratório de criação e convergência entre práticas pianísticas da contemporaneidade.
This artistic research project seeks to understand the Piano Cover as a space of convergence between different contemporary pianistic practices. The characteristics of the Piano Cover practice, such as the use of the pop/rock music repertoire, the emphasis on the processes of musical re-elaboration, or the modification of the pianist's role – from interpreter to interpreter-arranger-improviser – suggest that the Piano Cover can be seen as a musical activity that encompasses techniques, concepts, questions and solutions from different stylistic territories, such as the jazz pianist, the pianist-researcher-artist, the “event” pianist, and the art-music concert pianist. The aim of this research is to conceive a methodology of analysis, elaboration and interpretation that will ground the idea of Piano Cover as a laboratory for experimentation and convergence between different paradigms of piano practice. Specifically, this project will: a) discuss the articulation between piano interpretation practices and the Piano Cover; b) seek to understand the contribution of these phenomena in the reconfiguration of concepts that characterize the pianistic practice of Western art music; c) create ‘Covers’/original versions for piano, systematized according to the chosen methodology, making this production available in the form of scores and audiovisual records. The methodology includes bibliographic and documentary research, participant observation (with pianists from different areas of pianistic performance) and the creation of original versions for solo piano.