Gilberte Paiva is an unavoidable figure in the Portuguese music scene of the second half of the twentieth century, as educator and organizer. She managed, through the foundation of the Santa Maria da Feira Music Academy and Regional Conservatory of Aveiro, the decentralization of music education in the country. With the foundation of the Santa Cecilia Academy of Music in Portugal introduced a then-unique teaching model in Portugal, the first school of mainstream education.
Director still the Academy of Santa Maria da Feira, then created a Pro-Art delegation. As a teacher, he graduated disciples in various institutions where he taught, among which stand out pianists António Rosado, Eurico Rosado and composer Patricio da Silva.
After her retirement, she reorganized and held managerial positions at the Conservatory in Santarém. She was honored in 2000 by the Academy and the City Council of Santa Maria da Feira, in a ceremony that included the award of her name to one of the avenues of this city. In 2005, Gilberta Paiva was commended with the degree of Commander of the Order of Public Instruction, the President of the Republic, Jorge Sampaio.
An astonishing intelligence, fearless visionary, resolute administrator, teacher of genius, able to spot and steer talent like no other. The number of jobs and careers she personally created and enabled through music is like no other case I've ever heard of, anywhere. Literally, thousands of people in Portugal, even today, owe their education and their musical careers thanks to her.
It was this woman's vision and work that changed the course of music education in Portugal, founding, organizing, and running private and semi-private conservatories and music academies all across the country. And it didn't matter where she was working, for each new school she replicated success stories. She was the living example of the power of the individual, how intelligent entrepreneurship puts to shame the bloated efforts of socialized, federalized, subsidized, state-sponsored arts bullshit. If she wanted something done, she would not stop until she had it as she wanted it, no waiting, no permission asking. When she spoke, everybody heard it. A tough cookie, she accumulated quite a set of admirers, as well as a decent collection of unfriendly relations in high places. Once one would become a close student, she would give you a line-up of warnings: because you are my student, here are the doors that won't be friendly and she would go on telling, story by story, what had happened. I got to learn the history of XXth century Portuguese classical music delivered through daily narratives of different characters, institutional intrigue, political influence, personal vendettas, and family clans, all on a first-person basis. A lesson with her was always the entire afternoon. In my last year with her, she'd already retired from all administration and official duties. I lived at her home, I would attend to school affairs at the conservatory in the morning, and then a lesson everyday starting after lunch til she would pronounce my brain dead for the day. Repertoire choices and exercises were prescribed with the rigor of medicine for ignorance. She had had the mechanics of her Bechstein piano rigged, and made heavier to muscle up the fingers, build endurance and push you to work smarter, not harder with the mechanics the piano. Performing classical music was for her, first and foremost, an art of communication, and she wanted you to play the instrument like an actor is aware of diction. "If I'm seating in the last row of chairs in the concert hall, I still need to hear crystal-clear every single note of what you're playing", she used to say. Her biggest investments in life were human investments. Throughout her career she mentored, sponsored, and groomed the education of many individuals through music. Her students successes were her own successes. The only return on investment she asked for was for people to improve, do well, and get to work.
Director still the Academy of Santa Maria da Feira, then created a Pro-Art delegation. As a teacher, he graduated disciples in various institutions where he taught, among which stand out pianists António Rosado, Eurico Rosado and composer Patricio da Silva.
After her retirement, she reorganized and held managerial positions at the Conservatory in Santarém. She was honored in 2000 by the Academy and the City Council of Santa Maria da Feira, in a ceremony that included the award of her name to one of the avenues of this city. In 2005, Gilberta Paiva was commended with the degree of Commander of the Order of Public Instruction, the President of the Republic, Jorge Sampaio.
About Gilberta Paiva
by Patricio da SilvaAn astonishing intelligence, fearless visionary, resolute administrator, teacher of genius, able to spot and steer talent like no other. The number of jobs and careers she personally created and enabled through music is like no other case I've ever heard of, anywhere. Literally, thousands of people in Portugal, even today, owe their education and their musical careers thanks to her.
It was this woman's vision and work that changed the course of music education in Portugal, founding, organizing, and running private and semi-private conservatories and music academies all across the country. And it didn't matter where she was working, for each new school she replicated success stories. She was the living example of the power of the individual, how intelligent entrepreneurship puts to shame the bloated efforts of socialized, federalized, subsidized, state-sponsored arts bullshit. If she wanted something done, she would not stop until she had it as she wanted it, no waiting, no permission asking. When she spoke, everybody heard it. A tough cookie, she accumulated quite a set of admirers, as well as a decent collection of unfriendly relations in high places. Once one would become a close student, she would give you a line-up of warnings: because you are my student, here are the doors that won't be friendly and she would go on telling, story by story, what had happened. I got to learn the history of XXth century Portuguese classical music delivered through daily narratives of different characters, institutional intrigue, political influence, personal vendettas, and family clans, all on a first-person basis. A lesson with her was always the entire afternoon. In my last year with her, she'd already retired from all administration and official duties. I lived at her home, I would attend to school affairs at the conservatory in the morning, and then a lesson everyday starting after lunch til she would pronounce my brain dead for the day. Repertoire choices and exercises were prescribed with the rigor of medicine for ignorance. She had had the mechanics of her Bechstein piano rigged, and made heavier to muscle up the fingers, build endurance and push you to work smarter, not harder with the mechanics the piano. Performing classical music was for her, first and foremost, an art of communication, and she wanted you to play the instrument like an actor is aware of diction. "If I'm seating in the last row of chairs in the concert hall, I still need to hear crystal-clear every single note of what you're playing", she used to say. Her biggest investments in life were human investments. Throughout her career she mentored, sponsored, and groomed the education of many individuals through music. Her students successes were her own successes. The only return on investment she asked for was for people to improve, do well, and get to work.
