Music was always part of Alécio’s life. He studied the piano with Guilherme Fontainha, one of the most eminent professors in Rio de Janeiro in the 1950s. When playing a prelude from The Well-Tempered Clavier, his audience was struck by his immense sensitivity and his unusual freedom of interpretation. If Alécio did not become a professional pianist, it was quite simply because he refused all discipline and was an artist whose diverse interests found expression in many different forms.
Rachel Gutiérrez
Nuits magnétiques, France Culture, 26 October 1984.
Alécio (front row, 4th from the right).
Zilah Moura Brito’s piano pupils, Rio de Janeiro (Instituto
Nacional de Musica), circa 1945-46.
Beethoven’s Sonata 17, Op. 31 N°2, ”Der Sturm” (”The Tempest”), Paris, 1985.
© Jane Evelyn Atwood
Paris, 1984.
© Flavio-Shiró
Alécio’s correspondance with the Blüthner firm, 1984.
Alécio’s correspondance with the Blüthner firm, 1984.
Alécio’s correspondance with the Blüthner firm, 1984.
Alécio’s correspondance with the Blüthner firm, 1985.
Alécio’s correspondance with the Blüthner firm, 1985.
Alécio’s piano annotations.
Alécio’s piano annotations.
Alécio’s piano annotations.
Alécio’s piano annotations.
Alécio’s piano annotations.
Alécio’s piano annotations.