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Dieppa: Clasico Caribe California Colombia- Musical Artist: Press|Review




Copyright RobertoMcCauslandDieppa 2013/GSLMadisonAveNYC 

BEETHOVEN Piano Sonatas Nos. 23, 8 & 14. Piano Sonata No. 26: II & III only  —  Roberto McCausland Dieppa (pn)  —  SCRUFFY 20567658 (68:32)

   ...the Colombian pianist is also a composer...

  International Piano Magazine, Wulf, July 2015 image1_resized.png

Colombian pianist Roberto McCausland Dieppa, to judge from the cover and insert photos, likes to emphasize his odd appearance by wearing rounded glasses à la Schubert and colorful scarves à la Glenn Gould. He apparently also fancies himself the writer of these works, since his “bio” blurb is headed “About the composer,” but although I also disagree with the purple prose he uses to describe himself the actual performances of these Beethoven sonatas are actually quite good. Playing what sounds to my ears like a lightweight piano with a finely chiseled tone, Dieppa nevertheless follows the score remarkably well, missing none of Beethoven’s many and sundry dynamics markings and phrase indications. Indeed, I would go so far as to say that these are probably quite close in both execution and the sound of the instrument to what one might have heard if Beethoven himself were playing these works for you. In that respect, then, I have the highest admiration for Dieppa as an interpreter. In the first movement of the Appassionata, for instance, Dieppa works very well within the fairly narrow dynamics range of his instrument, managing to make a real contrast between its softest pianissimo and the most it can produce in fortissimo. There are also some interesting interpretive details, rubato used at the ends of dramatic sections before the music moves on, that make his playing more eloquent.

My only small complaint of his Appassionata is the tempo imbalance between the second and third movements. When you play the third movement at the brisk tempo and dramatic inflections as Dieppa does here, you need to have a little more con moto to your Andante as Beethoven directed, but here Dieppa plays the Andante con moto without much moto so that, when he jumps into the third movement, it sounds a bit disproportionately brisk. But I had no such complaints about his Pathétique, played in each movement with exactly the right tempo and phrasing as well as the right inflections.

In his performance of the Moonlight sonata, the first movement does not quite achieve the sense of mystery and melancholy that Beethoven intended, even though it is played in the proper tempo, and also Dieppa does not modify the line in the slightest with rubato inflections as it so desperately needs, but the remaining two movements are exemplary.

 ...the unfolding of the famous triplet motion in the first (movement) and the lovely lilting quality in

   the second (movement)... [of the Beethoven's moonlight sonata]   

     Gramophone, Nov. 2014- Rosenberg

image1_resized.pngFollowing this, Dieppa gives us only the last two movements of the Les Adieux sonata. He plays them very well indeed, capturing the feeling of longing in the second movement and the feeling of release and joy in the third,so of his performance I have no complaint, but why not the whole sonata? These movements are listed on the back of the CD container as “Encore” pieces, but surely  there was enough time left on the disc (nearly 12 minutes) to have given us the first movement as well? A mystery, then. Dieppa apparently likes to play truncated sonatas as encores.

In toto, then, an excellent introduction for me to this artist (although he has produced seven more albums, I haven’t heard them) and one that invites further listening for those who may be interested. Lynn René Bayley



BEETHOVEN Piano Sonatas: No. 8, “Pathetique”; No. 14, “Moonlight”; No. 23, “Appassionata”; No. 26, “Les Adieux,” mvts. 2 & 3  —  Roberto McCausland-Dieppa (pn)  —  SCRUFFY RECORDS 888174582757 (68:09)


     The catalog isn’t exactly bereft of Beethoven recitals combining the “Moonlight,” “Pathetique,” and “Appassionata” sonatas, but none of them comes festooned with such an exotic pedigree. Where was Serkin when the intoxicating music of Colombia’s Caribbean coast beckoned? When a CD titled “Beethoven for Kids” was in the studio, Michelangeli was nowhere to be found. And if Arrau was sent a pair of glow-in-the-dark yellow spectacles to sport, he quickly sent them back.  Roberto McCausland-Dieppa filled the bill, and as I followed his tracks from a Christian college in Georgia (graduated 1981) to a post at the School of Fine Arts in Cleveland (where he promoted music education for children), and a far-flung recital schedule (justifying the claim that he is the first native-born Colombian pianist to achieve an international career), I found myself agreeing with what McCausland-Dieppa told some kids about Beethoven: “He was quite a character.”

     Everyone knows the danger facing a jack-of-all-trades, but Dieppa, if I can use the shorter form of his name, can assuredly play Beethoven—and Liszt, which was his specialization while earning a Ph.D. in music performance. These readings are more than adept and far from academic. He has the technique to convey what he feels about each sonata, with a gratifying lack of officialdom. On YouTube you can find a handful of videos where Dieppa performs his own “Caribe classical” compositions, and the bright, forward rhythms that inform those pieces are echoed in his security with the sharp turns in the first movement of the “Appassionata” or the slowly rippling left-hand accompaniment in the “Moonlight’s” opening movement. There’s an appealing freshness to Dieppa’s playing that doesn’t, however, step out of bounds and start to swing. I wonder if he was tempted.

...Dieppa interprets the standard repertoire with unequaled uniqueness in style and with incessant energy...

 Gramophone, Nov. 2014- Rosenberg

 The Andante and finale of the “Les Adieux” Sonata are offered as so-called “encores.” They are sensitivelyimage1_resized.pngdone, especially the Andante—all the slow music on the program is executed with tenderness. Why the entire piece wasn’t presented is a bit of a mystery. The CD is subtitled “Three Great Sonatas One Encore,” yet in 2002 Dieppa released an album of “Four Great Sonatas” that is identical to this one, but with the entire “Les Adieux” included (not to mention that two movements constitute two encores, not one). I assume but cannot verify that this is a reissue of the earlier CD.

     The piano is closely miked and sounds a bit bright on my audio system, although that’s not a serious drawback. There are no notes in the slim-line cardboard packaging, only puffy praise of the pianist.  With his yellow spectacles and excitable hair, Dieppa looks the part of a fantastic character not far removed from Willie Wonka, perhaps. But this is a serious, enjoyable Beethoven recital.

Huntley Dent

Notas de Dulcura y Tormento
El Espace Senghor acogio calurosamente el 16 de Marzo
A las 20 horas, un Roberto McCausland-Dieppa, uno de los
Grandes pianistas colombianos, caracterizado por
Soltura y delicadeza de Movimientos de dedos,
pequeños toques de teclado, Que impresionan al instante. Juega con
El equilibrio Entre la dulzura y el tormento, ecos musicales Que
Retumban en la mente del especador, Con Un Estilo dramático
Muy personal y SENTIDO. Un delicioso repertorio Que INCLUYE
piezas de Claude Debussy, Franz Liszt, Federico Mompou, y ademas,
 Para El deleite del espectador y en Tras breves reapariciones regalo al
los oidos de los asistentes, Una pieza de Chopin. Sonidos envolventes y
magicos Que LOGRAN apaciguar el animo del espectador MIENTRAS Que,
por momentos, aviva la tendion con notas tan contundentes de Como
rasgadoras Que le han Llevado por un intérprete de El Mundo entero.
ACTUALMENTE, Inicia Una Nueva gira por Europa y mas tarde, en otoño
Lo por hara por Suramerica. Su vida la Llena la musica, sean giras,o grabaciones
impartir clases.

Ana Pisionero

A Review: Ana Pisionero, Brussels  Belgium, Journal ‘Çomunicar’, translated, 2013.


Notes Sweetness and Torment


The space Senghor warmly hosted on March 16th at 8 pm, one of the great  Colombian born,  [American] pianists Roberto McCausland Dieppa characterized by an ease of movement of fingers, delicate touches  of the keyboard, which impress  instantly. .. [He]…Play(s) with the mind [of the] expectator, in a very personal style and dramatic sense, teasing the balance between sweetness and torment, musical echoes reverberating [in the space]….*

 A delicious repertoire includes pieces by Franz Liszt, Frederico Mompou and also to delight the spectator, after brief comebacks (encores),[a] gift to the ears of the audience, a piece by Chopin; involving  and magical sounds that manage to appease the soul of the espectator, while at times   heightening  and enlivening  the tension with strong  ripping notes and sounds,…* which have led him to interpret the world.

Currently, he began a tour in Europe, and later will do it for South America is life full of music, be recording, touring or reaching out to the public through didactic classes.




Ana Pisionero - Journal 'Comunicar', Brussels, Belgium Translated 2013 (Jun 7, 2015)

Ciclo La orquesta sinfónica

Beethoven- La educacion Musical

Como aprendemos música: Una perspectiva musical


A través de los largos años  teorías y sistemas sobre el correcto aprendizaje musical han surgido, se han puesto moda y luego entrado en des uso. Existen los que piensan que este misterioso arte  auditivo se aprende mejor  sumergido en un  profundo e intenso ambiente sonoro  y rodeado de resonancias y ejecuciones musicales. Otros creen que uno nace con el don y la genética. Aun otros piensan que el suceso en esta disciplina se debe al rigoroso estudio y las largas horas de práctica y ensayo. Muchos piensan que es tal vez la buena suerte de poder hacer algo único.

Bueno, ante esto, una tarde de trabajo en el viejo continente, después de ensayos exhaustivos, salí a tomar aire fresco y en camino a un ‘espresso’ un ensamble llamo  atención. Impecablemente vestidos en sus ropajes coloridos autóctonos, sentados en semi-circulo desordenado, como nuestros músicos de cumbia,  con instrumentos al parecer sin relación: Violines con clarinetes , guitarra, tambores, el famoso címbalo; arpa  horizontal sonorizada con  baquetas y pedales precursor del piano; unas flautas tubulares, y  a la diestra de un acordeón tipo bandolón a la espera del buen uso reposando en el espinazo de una pequeñita silla de madera forrada en cuero, igual a las que vemos en las fincas ganaderas  en nuestra costa Caribe.

 Sentado inocentemente un joven, sonriente, a veces  energético, luego soñoliento, ejecutando cuando posible y cada cuanto simplemente mirando,  instruyéndose.  De vez en cuando, estos pequeños deditos recibían indicaciones de un sobrio, elegante, fuerte y gentil hombre-la música no dejaba de sonar. El escenario igual al que ocurre en nuestras regiones musicales al transitar tradiciones musicales y artísticas autóctonas generacionalmente, me acordó de cómo Beethoven había aprendido de su abuelo y su padre, y el abuelo, de su padre respectivamente.

 Definamos  a este misterioso arte sonoro emotivo. La música consiste de sonidos organizados rítmicamente.  Un idioma o lengua en el cual el significado emocional varía de acuerdo al receptor o el oyente en caso de no tener  instrucciones alternas sean- visuales o en palabras.  Sin ritmo, no existe la música de manera cognoscente. Patronos rítmicos son la esencia de la música y la vida- el latido del corazón, nuestros primeros respiros y suspiros,  nuestros primeros pasos-ocurren en ritmo. En niveles  aun más incuestionables, ritmo existe en nuestra  acentuación  o inflexión al hablar (el acento barranquillero), nuestras danzas y ballets, las silabas en habla poética; en  artes plásticas el uso del color, la ubicación,  manera de exponer el sujeto en  pinturas, el sugestivo  movimiento en escultura…a ver,  ritmo es vida. En música el ritmo es el lienzo y el color es el tono.


Luego, de  nuestro primer latido,  siguiendo las expresiones corporales emotivas y comunicativas como, la precaria danza de nuestros primeros gateos, nuestras primeras expresiones en lenguaje corporal, los sonidos emotivos sapientes; la palabra e idioma en habla y escritura ya codificada es  la cúspide comunicativa humana entre-personal. Música y ritmo operan dentro del ámbito de sonidos en patronos rítmicos tonales sapientes emotivos: un  nivel más primal y oculto en nuestro sistema neuro comunicativo emocional.  Añadimos  a este lenguaje rítmico sonoro emocional subconsciente,  el  temperamento con el cual nacemos, y tenemos un idioma  comunicativo emocional complejo- nada concreto.

 Bueno, complejo, pero de suerte en el mundo occidental utilizamos frecuentemente  patronos rítmicos con sus variaciones,  engendrados de la inflexión del habla y la danza. Estos ritmos  existen en la cumbia; en el dialogo rítmico entre la  clave del tambor bajo,  la flauta; en los minuetos y su acentuación;  y en las piezas que el muy joven violinista gitano ensayaba. Con  razón música es  un fabuloso misterio.

Sobre el misterioso aprendizaje del pequeño Ludwig, imagino que llego a oír a su adorado abuelo cantar y sin duda estuvo expuesto a los valses, minuetos, romanzas y danzas alemanas autóctonas como era la tradición educativa musical de la época. Estas contienen el germen de la danza y lengua oriunda. Luego, Ludwig dejo bastantes piezas simples para niños, casi  todas con el sentido de la danza y ritmo de su idiosincrática enseñanza, construidas similares a su idioma natal- un motivo rítmico desarrollado y complementado con otros a su alrededor dando sensación de una larga frase- en realidad pequeños grupos rítmicos adjuntos. Y, su legado sinfónico contiene material basado en música autóctona- ‘El canto al pastor’ movimiento V- Sinfonía Pastoral- en parte evidencia de sus comienzos  musicales.

 Luego, bajo este complejo laberinto musical, el sentido del ritmo, su profundo conocimiento, coordinación y control bi-lateral (movimientos de caderas y piernas coordinados en contrapunto ensayados- nuestros bailes autóctonos)  y un buen sentido de tono, son factores que amplifican el suceso en el aprendizaje instrumental. Con buena coordinación, disciplina, enfoque y enseñanza idiomática, la paciencia y rigor mental afinan el oído.  Esto y el  sutil  saber de cómo mejor aprenden los diversos temperamentos jóvenes, motivándoles, y guiándoles con materiales relacionados a su predisposición autóctona, da grandes resultados en el proceso educativo en relativo corto tiempo.

En términos prácticos esto traduce de esta manera.  Un futuro joven pianista o violinista en nuestra región,  con el deseo de bien aprender, generalmente tiene un sentido del lenguaje rítmico tonal local. Entonces, comencemos su educación musical utilizando esta inclinación  con piezas basadas en lenguaje rítmico y tonal de nuestra región. Aún más claro,  digamos que su primera pieza sean variaciones rítmicas sobre un tema popular como ‘te olvide’,  combinando idioma autóctono  musical conocido  contemporáneo, con las tradicionales estructuras clásicas- lo mejor de ambos mundos- se lograría obtener  un alto nivel de coordinación rítmica sutil, y un buen sentido tonal. Traduciendo esto a términos Beethovenianos, el joven aprende música partiendo del lenguaje rítmico tonal regional. Y como Ludwig, ritmo, danza e idioma se transforman en música. De  este punto, es simple el  bien ejecutar una sonata básica de Mozart o Clementi.

  Esta  proposición ha sido implementada y con suceso. Bartok, Bela, como lo llaman los Magyares, (su música se escucho en el servicio de Gabo el martes pasado en ciudad de Mexico), compositor, pianista, conductor, excelente intérprete,   no solo de su música si no de los clásicos, de jazz y de música regional de la Europa del este,  compuso una serie didáctica para piano  dedicada a su hijo, Peter, en la cual todas las piezas son basadas en el folklor autóctono. Bartok, asediado de mono culturismo, viviendo en un área multi-cultural, cambio la cultura educativa musical, legado empezado por Liszt y continuado por Kodaly, codificando, manteniendo y desarrollando música autóctona y promoviendo a su vez la de los grandes compositores . La serie es utilizada en muchos países y a su memoria, en Budapest existen escuelas de música, radio clásico, salas de concierto, avenidas, y museos  denominadas Bartok. Al igual, este complemento educativo folklórico y clásico a producido grandes pianistas, compositores, músicos populares, tres  orquestas sinfónicas en Budapest, óperas, ballets y mucho  más, todo por el reconocimiento del valor multicultural folklórico autóctono  musical y su infusión en la música clásica. 

La creacion de Fundacion FOSC-Carlos Dieppa Delgado, personas y entidades locales y regionales (Barranquilla y su costa Caribe) Compartamos con Colombia, Prieto & Carrisoza, Bancolombia, Deloitte & Touche Colombia, y tres firmas en el gremio del entrenietmiento y la educacion musical internacionales- estan trabanando en conjunto  con la meta de establecer a largo termino la Orquesta Sinfonica del Caribe dedicada a excelencia en ejecucion, educacion (non-degree) y obra social- para realizar la suma cum laude- herencia artistica que orgullosamente exhibe el multiculurismo regional y su juventud inquieta.


Roberto McCausland-Dieppa

The artistry of Roberto McCausland-Dieppa is unparalleled. Mr. McCausland-Dieppa is a Colombian born pianist, conductor and composer.  Mr. Dieppa’s work is characterized by depth, verve, passion, abandon, sensuousness and unequaled sensitivity.   McCausland -Dieppa received the Merrill Lynch Prize (2002) leading to performances in the United States, Asia, Australia, and Europe.  Mr. Dieppa was invited to  perform  an all Chopin program at the Ostrogskich-Chopin Hall in Warsaw, Poland.  His performance at  New York’s Carnegie Hall prompted a standing ovation from the audience and eight encores. The next day Mr. Dieppa was invited to join New York’s J. Walter Thompson-World Wide Entertainment group lead by Mr. David Lory, becoming the first native Colombian pianist to have a successful international career. 

Dieppa received in 2006 the distinguished Pro-Arte Hungarica award given by the Hungarian Ministry of Culture in collaboration with Columbia University in New York for performances of works of Franz Liszt and Bela Bartok.  Other past recipients include Yehudi Menuhin and Georgy Sandor. In the same year, Mr. Dieppa and Mr. Henry Kissinger were the asked by the United Nations to help celebrate the fiftieth anniversary of the Hungarian revolution of 1956. 

In 2008, sensing the inner need to further the music of his native Colombian Caribbean, Dieppa returned to composing, conducting, and performing his own works in order to became a catalyst  in the musical development of Barranquilla and the Caribbean through programs and media.

Roberto McCausland-Dieppa is a regular participant at European music festivals including those in Budapest, Rome and Milan; he gave a stellar media performance at the Bellas Artes, Madrid in 2007.  In a 2011 tour of Japan, Dieppa presented brilliant performances to audiences including members of the imperial family.  A conducting “fellow”, he received professional counsel from Eduardo Mata, a Doctor of Music in Performance Practice-Liszt Studies. McCausland-Dieppa is a member of the Grammy and the Latin Recording Academy.  Dieppa is a dynamic  innovator, creating a Latin-Jazz-Rock-Classical fusion crossover sound.

Musical Awards

Merryl Lynch Prize

Merryl Lynch chooses artists every year that deserve to be heard, honored, and sponsored. In 2002 Mr. McCausland Dieppa was chosen per his performance artistry. Traditionally these prizes carry engagements in mayor venues and halls and recognition.  Mr. Peter Dougherty and the New York office were the sponsors. Dieppa was invited to perform an all Chopin program at the Ostrogskich-Chopin Hall in Warsaw, Poland.

  Pro Arte Hungarica

 Pro’Arte Pro Cultura Award is given  by the Ministry of Culture of Hungary under the  auspices of the European Union and Columbia University in New York. Hungarian’s Minister of Culture, Andras Bazoki, and the Hungarian Ambassador to the United Nations, Gabor Horvath, sponsored and recommended Mr. Dieppa as one of the very few non-Hungarians to have made major contributions to the arts in their country. Mr. McCausland-Dieppa was granted the prize on the basis of his performance and dissemination of the music or Franz Liszt and Bela Bartok.  McCausland-Dieppa hasgiven about 75 Liszt programs worldwide and is a major authority in the music of Bartok.  The recipients must make significant, undisputed contributions to the artistry and must know all or a major portion of a particular repertoire.  Previous recipients of this distinguished award have been Yehudi Menuhin, Georgy Sandor and Zoltan Kocsis.  The recipients are chosen through a private vote after a rigorous and competitive process since they stand for review several times during their life time.  McCausland-Dieppa’s  outstanding performances  and dissemination of the Liszt Sonata in b minor for piano and the Eine Faust Symphony Drei  Characterbilder for Orchestra in Budapest were noted as exceptional.

 Bio Note 

Roberto McCausland- Dieppa (B.A., M.M, D. Mus. Performance practice) is a virtuoso pianist, conductor and composer. Dieppa is also greatly admired and respected  for his introduction of children, young adults and adults to the arts as an interdisciplinary focus.  McCaulsand- Dieppa has created programs such as The Adventures of Robelio  that features character- building stories from great music.  He is a voting member of the Recording Academy and the Latin Recording Academy. Dieppa is represented form NYC to the world solely and esclusively by GSL Madison Ave. 

 (note written and designed by R.Prclo-CMA)

Credits: Art/Pics Sophie Nemeth/Media-Classical Phoenix Classical/Piano Publicacion International Piano/on line ticket sales Jason Daniels/Fanfare publication/AlfredoSabbaghVideos/Hostbaby-their invaluable patience!!!!!B.Gigax,Angela-all at diskmakers/LVince-D.Shaw.