Maximo Klyetsun
Biography
Máximo Klyetsun (born 18 February 2006) is a Portuguese pianist of the new generation, already establishing himself on the international concert scene. Raised in Portugal by Ukrainian parents, he discovered classical music early, inspired by his older sister’s violin studies. He began piano lessons at the age of six and quickly demonstrated strong musical sensitivity and discipline.
He completed his studies at Conservatório Bomfim, graduating in 2024 with the highest academic and civic distinctions, under the guidance of Professors Patrícia Ventura and Maria Hoffman. He later continued his advanced training at the École Normale de Musique de Paris – Alfred Cortot, where he obtained the Artist Diploma at the age of 19, awarded Très Bien avec Félicitations du Jury, studying with Professor Marian Rybicki. Máximo is currently in his second year at the University of Minho, studying with Professor Ângelo Martingo, while also pursuing private studies with Marian Pivka, former student of Vera Gornostaeva at the Moscow Conservatory.
Máximo has performed widely across Europe and internationally, appearing in cities such as Paris, Bern, Kronberg, Lisbon, Madrid, Seefeld, Rome, Porto, Braga, Guimarães, Nice, Ibiza, Tarnów, Vienna, Rabat, Nashville, and Athens. In Athens, he performed at the Parnassos Literary Society. In Bern, he was featured in the Young Piano Series, confirming his growing presence on the international stage. He has appeared in major festivals including the International Spanish Music Festival (León), the International Ibiza Music Festival, and the Summer Classical Festival in Lisbon, as well as in concert series organized by ANIMATO. His performances have taken place in prominent venues and cultural institutions, and he has been invited to perform for distinguished public figures, including the Prime Minister and Minister of Culture of Portugal.
A notable highlight of his concert activity was his recital at Casa da Música in Porto, broadcast live on Antena 2, as well as appearances on SIC Televisão, bringing his artistry to a wider national audience. Alongside his solo career, Máximo is actively involved in chamber music, performing regularly in trio and quintet formations. Another notable appearance was a concert at the Oeiras Municipal Auditorium José Castro in Lisbon/Oeiras, recorded by RTP.
He has collaborated with orchestras such as the Orquestra Sinfónica Esproarte, conducted by Gustavo Delgado, and the Bomfim Orchestra, under Luís Machado. His artistic work is also documented in two recordings made in Portugal, including an album dedicated to the 150th anniversary of Sergei Rachmaninoff and a recording for the Mostra Musical Eixo Atlântico.
Máximo’s competition career reflects a strong international profile. In 2025, he was awarded First Prize at the Prix du Piano Bern, Second Prize and the Audience Prize at the International ANIMATO Piano Competition in Paris (jury presided by Dang Thai Son), and Second Prize with the Best Portuguese Pianist Award at the Viseu International Piano Competition. In previous years, he won First Prize at the International Piano Competition of Ibiza, the New York International Music Competition, the Caneres International Music Competition in Vienna, the Oeiras International Piano Competition, and the Lisa de Sousa Pedroso Prize, among many others. In total, he has received over 50 prizes in international competitions across Europe and the United States.
In 2026, Máximo won the 1 st prize and Best Portuguese participant at the Sardoal International Piano Competition. As well, he was selected to participate in the Arthur Rubinstein International Piano Master Competition, reaching the semi-finals of the competition. Making a great artistic impact on pianists such as Martha Argerich, marking an important milestone in his artistic development.
He has participated in masterclasses with internationally renowned pianists and pedagogues including Vladimir Viardo, Arie Vardi, Jean Saulnier, Artur Pizarro, Milana Chernyavska, Elena Richter, Qing Li, Philippe Raskin, and Colen Lee, all of which have contributed significantly to the development of his artistic voice.
Beyond music, Máximo maintains a strong interest in cultural heritage and regularly visits museums and artistic institutions. He is also passionate about football and follows contemporary cultural and global developments, which continue to shape his artistic perspective.
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We had to prepare almost all of our rounds in advance. They told us about three weeks beforehand that the finals wouldn't take place immediately after the first two stages and would be postponed until September. So, we still had to prepare our concertos and chamber music alongside the solo repertoire.
Everyone wanted to play in Tel Aviv and perform for the audience there. The atmosphere and spirit of Tel Aviv are unique, so when the location moved to the Kronberg Academy, it was definitely a different environment. Kronberg is a wonderful facility with great Steinway and Bechstein pianos, and we stayed at the hotel right next door, so the setup itself was excellent. However, missing out on that specific energy in Tel Aviv was a bit of a letdown.
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That is a great question, especially because the audience wasn’t the biggest, which was perhaps the most pitiful aspect of this Rubinstein Competition. However, the people who were there were wonderful. There were two ladies who flew in from Israel, and they were incredibly supportive of all the pianists. So there was definitely a "jury of the public."
Even with a smaller audience, when you are performing for figures like Martha Argerich, Arie Vardi, Pavel Gililov, and Piotr Paleczny, you have to play with the same commitment as if the hall were full. The energy and silence of a large audience are different, but you have to imagine that atmosphere in your mind and enjoy playing for the people who are in front of you.
When it comes to Arthur Rubinstein's philosophy, the audience is everything. Rubinstein embodied what it means to “live life” to the fullest and bring that character onto the stage. Watching videos of him walking onto the stage, he made performing seem like nothing, as if having breakfast or dinner. In modern performance, much like in modern football, everything has become so tactical, so focused on technical perfection and avoiding mistakes, that we often lose the risk, passion, and personality. Even mistakes can be so unique that it makes a performance unforgettable.
Beethoven himself said that we can break rules for the sake of art, so why shouldn't we, as pianists, do the same? To touch the hearts of the audience, passion and personality have to come first. You see this in iconic artists with distinct character: Lang Lang, Denis Matsuev, Yuja Wang, Martha Argerich, Vladimir Horowitz, or Alexei Sultanov. Critics may not like them, but audiences connect with them because they play with character. Preserving Rubinstein's legacy means keeping that passion and personality alive in your performances and bringing your true self to the stage.
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In the program I chose, after the pieces were approved, my main focus was picking works where I could show something different and truly express my personality. People often talk about the concept of building a program, but the most important thing is whether you can actually play it and play with character.
For the first round, I chose pieces I really wanted to play. I started with the Israeli required piece, the two preludes by Hillesum, which was the best option for me. It is a beautiful 20th-century work that almost nobody knows, and starting with it felt right, especially with the original idea of playing in Tel Aviv. I then played Rachmaninoff, a composer I feel deeply connected to, and ended the round with Liszt's Hungarian Rhapsody No. 6. I wanted to finish with that firework piece and its octaves because I love playing it, and knowing Martha Argerich was on the jury, I definitely wanted to show off a bit of my octaves and energy.
For the second round, I really wanted to play Mozart's Sonata in D major because I am usually more of a Beethoven guy and had not done much Mozart. From there, I went to Chopin's 24 Preludes, which is a demanding set to play in a competition, and finished with Ravel's Toccata as an energetic ending like an encore.
I just selected pieces that I felt good playing and genuinely wanted to perform. If you play what you love, that is what ultimately works out best.
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The preparation for the Rubinstein Competition was definitely unique, and it came with several major challenges.
First, there was the uncertainty surrounding whether the competition would happen on schedule, so we were practicing without fully knowing what to expect.
Second, the sheer amount of repertoire was a huge challenge, especially because I broke my ankle about two months before the competition and had to have surgery. Because of that, I spent a long time practicing without the pedal or using my left leg instead. One month before a major competition, practicing so much without the pedal is definitely strange and not something I would typically recommend, but I had to adapt.
Because I couldn't use the pedal easily, I spent a lot of time focusing on pure finger legato, practicing hands separately, and working on micro-details.
The third take is that running through the full program in public is crucial. Ideally, you should organize three or four concerts at your school or university to run your repertoire before the competition. Because of my ankle, I couldn't play as many test concerts as I wanted. I only managed one full run-through, and I hadn't played the Chopin Preludes in public since another competition back in December. I noticed that my Stage I went much smoother simply because I had performed that repertoire for an audience more often beforehand.
Ultimately, preparation is all about finding a balance: balance between working on the details and playing full run-throughs, balance between practicing with and without pedal, and balance between private practice and performing in public. Getting feedback in masterclasses or lessons can bring fresh ideas, but the most important thing is to have a clear vision in your mind of what you want to do and not get influenced by others’ interpretations.
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I'm actually planning a few things right now. I recently played in Lisbon for the opening of a piano competition, which was a great experience following the Rubinstein competition. But for me, the most important part is representing Portugal. My family immigrated from Ukraine, so coming from a Slavic background, there is that heritage where people expect strong pianists. But I was born in Portugal, which is a bit different.
In the global classical music world, Portugal is often overlooked. People usually think of Chinese, Russian, American, or French pianists first. Beyond legendary figures like Maria João Pires, Artur Pizarro, and Sequeira Costa, I really want to help put Portugal on the map for this new generation. Portugal is a wonderful country with so many great competitions and festivals, and we need to showcase that value internationally.
Being the first Portuguese pianist in the Arthur Rubinstein competition is something I am truly proud of, and I hope I won't be the last. I want to use this to motivate others to go out and compete on the global stage, because it's an incredible experience.
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Because my sister played violin, there was already a musical environment at home. My mother's side of my family was involved in music, as both my mother and grandmother played when they were young. Growing up, I naturally felt a motivation from the family environment to practice and play. However, the defining moment that truly motivated me to dream of becoming a concert pianist was listening to Denis Matsuev when I was a kid. I was completely captivated by the explosive energy he brought to the stage.
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It is actually very difficult to choose just one composer, because every composer has brilliant works that I can’t say I hate nor love. However, Rachmaninoff is someone I love and feel particularly connected to. Chopin is another composer I love, although his music is undeniably difficult to play and demands immense sensitivity, but the reward is extraordinary. Also, Liszt’s virtuosity and his showmanship are truly incredible. I also love Schumann, especially his Symphonic Etudes, which I think are out of this world.
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To be honest, the performances I have the most fun with are the ones I play with other pianists. It's fun because we are all together and sharing the same energy while giving a concert.
Honestly, I loved the Zentrum Paul Klee in Switzerland. The Swiss audience was actually really enthusiastic and passionate when I finished playing, the hall itself is really unique and beautiful, and the Steinway piano was awesome.
There, I played Le Tombeau de Couperin by Ravel, the Kapustin Variations, and Chopin's Préludes. The funny story is that before that, at the end of September, right before I performed there in late October, I had a problem and suffered a brain spasm. I had a really bad week, and then I needed to learn these pieces. It was a bit difficult after that situation, but I worked for hours and hours to memorize and learn them. Maybe that's also why I felt so good after the performance, because it was just a lot of work, to be honest. A bit of a challenge!
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If I talk about my teachers, I'll be honest, each one gave me a different approach. I started in the conservatory with Maria Hoffman, a Finnish pianist based in Portugal. From Maria, I learned passion and how to sing through the instrument. Marian Pivka, whom I had private lessons with at the Moscow Conservatory, was very serious, with a lot of poetic expression. With Angelo Martingo, he studied with Marian Rybicki, like I do right now. I learned from all of them; I cannot say one is better than the other because everyone influenced me in some way to improve, including Rybicki as well. That is the most important thing, to be honest.
In the beginning with Maria, the main thing I learned was singing. She was always singing, encouraging me to move my body freely. From the Russian school with Pivka, I learned something very deep, especially in understanding the sound itself and the importance of digging deep into the keys regardless of the piano. With Angelo Martingo, he spends a lot of time practicing with me and all of his students, working with his very detailed ideas that help a lot, like phrasing and short-form details. Finally, with Rybicki, it is the old-school approach: he is very open to various interpretations and allows you to execute your own ideas as long as they are convincing and not overly dramatic.
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I really like to live life. In an interview on YouTube, Alexei Sultanov said that just reading books is not enough because then it’s like a library, or something like that. I think it is so important to live life because a composer wrote that you can read books and watch movies that can inspire you, but when you talk with somebody face-to-face and experience real moments—you break an ankle, you cry, you laugh, somebody passes away, or somebody is bored. You can see all of this, and I think that is what helps develop your music if you imagine it when you go on stage.
For example, I go to the sea to watch the sunset, I walk in nature in the mountains, or I go play football with friends from Angola or Brazil, each with different characters and cultures. All of this inspires me on stage. When I am performing, I am not thinking about these specific moments, but all the emotions I have lived in my life influence how I play and how I feel on stage. Living life is just so important.
Regarding football, the real football, not American football, I think its biggest similarity to piano playing is adaptation and resistance. Playing football in the streets with different people forces you to adapt quickly. With the piano, you also have a team dynamic in a way: it is a teamwork between you, the composer, and the instrument. You have to adapt constantly to different pianos and react immediately to how the mechanics respond to your touch, especially in competitions where you have almost no time to get to know the instrument. Beyond the physical stamina and resistance, that adaptation on the field is what correlates most closely to playing the piano.
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I do not really plan my practice time because I am in my city and have a piano at home, so I have a lot of freedom in that sense. Most importantly, when practicing is not really working for you, when your fingers or your mind are not there, I think it is better not to practice at the piano. Instead, you can listen to something else. I would not necessarily listen to the piece you are playing, because listening to another recording might influence you or prevent you from developing your own ideas. However, listening to something else, for example, another composer’s work, an orchestral work, a symphony, or chamber music, while reading the score or walking outside can be very helpful.
When I am feeling good and practicing at the piano, I really like to practice separate hands. Sometimes I can get a bit obsessed with it, but working with separate hands is important to truly understand what is happening in each hand.
I also think it is important to practice as if you are performing on stage. Sometimes we get so focused on micro-details, trying to remember every instruction from our teacher, that we get confused. I get confused a lot of times, so playing through as if you are on stage really helps. That is why playing in smaller rooms, for teachers, or for friends is so effective to come back to what you want to achieve.
Of course, looking at the score and working on the technical side using different rhythms is also important. For example, if there is a fast passage written in groups of four, I like to group them differently, for example, 3-4-1-2, to separate them and give the weaker fingers more importance in the technical aspect.
At the end of the day, what we really want to do is to play for somebody. At home, I ask myself: Am I ready to go on stage? Are my ideas ready and actually workable? I’m not perfect, so I’m still working on them.
When I practice all these details for hours, what’s the point if all the details don’t contribute to the performance? That’s why living life and experiencing something new is important, and it may even make the details better. Your mind is always thinking, so it’s sometimes better to turn off.
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The most difficult moment for me was when I had that medical issue last September, right before I had to perform at the Zentrum Paul Klee. I had about a month to learn and memorize over an hour of repertoire.
When it comes to managing the psychological pressure of major competitions like Rubinstein, where the program workload is intense, I think the key is learning to zoom out. When we’re nervous, we often lose the bigger picture. You have to learn to enjoy the process. Of course, you still need discipline and concentration; you cannot fix everything at the last minute. When everyone gathered before the competition, Kevin Chen said, "You cannot do anything now. You had to practice before; right now, you just have to play.”
Doubts about whether you are ready or good enough happen to everyone, whether in music or in sports. The important thing is to not be too serious and instead bring a bit of playfulness to the stage and truly live in the moment. A major competition is a unique experience that might not happen again, so even if you feel you aren't completely ready, you should still enjoy the process, enjoy playing, and show your personality.
At the end of the day, your teachers, the jury, or the public can say whatever they want, but it is your life and your performance. Looking back at artists like Alexei Sultanov, who died so young, you see how much character he brought to the stage, even at the Chopin Competition. Whether things go well today or tomorrow, as long as you maintain that discipline while staying present and enjoying what you do, you will always overcome those difficult moments.
