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18 CHOPIN_24 PRELUDES, FANTAISIE-IMPROMPTU, NOCTURNES, BARCAROLLE You then went to the Madrid Conservatory to study with José Cubiles. What place did Chopin’s music occupy then? I tackled an extremely varied repertory under the guidance of Cubiles – who had premiered Nights in the Gardens of Spain in 1916. As far as Chopin is concerned, there were several études and the ‘Funeral March’ Sonata, a work that I was later to play very frequently during my career, like the Third Sonata, which is also dear to my heart. What I remember most about Cubiles is his very natural and spontaneous relationship with music. After leaving theMadridConservatory,youworkedwithWalterGieseking, but also with Guido Agosti at the Accademia Chigiana in Siena. Did you tackle Chopin with these masters? With Gieseking, I remember working on Gaspard de la nuit . I also played Chopin’s Sonata no.3 and the First Concerto. As for Agosti, I have the wonderful memory of having seen completely new perspectives on music open up thanks to him. And of having better understood the greatness of Chopin’s music, among others.