Music is everywhere. Our very breath exhibits a certain context of constant sound. The tweeting of birds in the early morning, the gushing of waves in the ocean, the swaying of leaves on branches in the wind, the giggling of kids after a school day, the laughter of teenagers, the exclamations of victory after a football or cricket game—there is no dearth of examples. Music sounds and resounds through all our senses, and this includes the sound of silence. I have realised that it is up to us to recognise this phenomenon. One does not have to be a professional musician to enjoy or understand music. One only has to let go and permit oneself to experience its ubiquity.

Music has always been, from the moment I can remember, an essential part of my being. As a child, I sensed the tension between several cultures that went into forming my roots. As a migrant who has lived in Europe for over 50 years, I am aware that colonialism, a major part of my heritage, has had not only a strong influence on my behavioural pattern, but also included the conflict and communication between my Indian and European instincts. This ultimately led to a positive manifestation of my artistic conditioning, which has never left me since. 

My very first role model was my mother and her song lives on. Other mentors have been not only the various professors I have studied with, but also people who have been kind enough to share their wisdom and experience with me. The first among them being Goan pianist, teacher and spiritual mentor, Madame Olga Craen.

As a performer, educator and curator, innovation and experimentation has become integral to my musical consciousness. Having taught in several institutions for over 40 years, I have realised that there is little chance for a talented child to burst into melody by playing whatever comes naturally. Often the connotation of certain words—like “practice”, “concert”, “classics”—in today’s globalised world can take away from a young, sensitive pupil the joy of discovery and the pleasure of experimenting. Of course, a passionate teacher could smuggle in a bit of finger exercise into the preparation of a new piece, so that the student does not feel the pressure of the word “technique”. We educators tend to concentrate on reproducing, imitating and interpreting. How much freedom do we permit the young learner to develop his or her own fantasy? Is it because we are conscious of our own inhibitions in our learning experience? Do we play music or play with music?

I often find myself taking risks, creating (well-planned) obstacles, observing how my students react; even permitting them to decide what they think best, hence making their own choice. This stimulates spontaneous, individual action eventually leading to development of a unique identity.

Singing is definitely a great help. It was Craen who said, “If you want to play the piano well, don’t forget to sing before you touch the keys; if you sing, you breathe correctly”. We piano teachers do not expect students to be vocally perfect but give them room to phrase according to what their voice tells them. We should never forget that we will always remain students, exposing ourselves to learn from everything and everyone around us.

The project I initiated in 2015, Quest for Passion, has brought me annually to India, very often accompanied by musicians from various countries, who weave together their musical identities into our tradition. In places with a colonial history like Goa, Mangalore and Bengaluru, we have been able to share our experiences by performing for and with, and teaching and interacting with people of all ages, gender and religions. The diversity of spontaneous music-making (which may go on from an hour to the length of an entire day) has inevitably resulted in hands-on learning, participation, a joyful blending of musical sensibilities.

Children in India are extremely talented. Their enthusiasm and love for learning has made an incredible impression on my visiting musicians. They enjoy their uninhibited spirit and spontaneity. This makes it easier for us artistes not only to show but to share our processes, experiences.

If I could succeed in coming to India every year with new musicians, introducing new values, exchanging new ideas, this would create a substantial sign of sustainability for many who could continue in their own artistic way.

My vision is to be the bridge between unnecessary boundaries, possible only through the power of music.

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Marialena Fernandes was born in Mumbai and received her Diploma in Piano and Chamber Music Performance with unanimous distinctions at the University of Music and Performing Arts in Vienna. She also earned her Master’s and Doctorate degrees at the prestigious university. Since 1991, she has been a professor at her alma mater in Vienna and conducted workshops and masterclasses worldwide. In 2008, Fernandes received the MIA Award from the Ministry of Education in Austria for her contribution to the arts as a successful, migrant woman. She is currently Artistic Director and International Program Curator in Crossover projects.

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