At just 22 years old, Maria Dueñas has already carved out a remarkable path as a violinist, defined by technical brilliance, emotional depth, and an unwavering dedication to her craft. Born in Spain, she began playing the violin at the age of seven, and in the nearly 15 years since, she has emerged as one of the most exciting young artists of her generation. Moving to Vienna to continue her studies, Dueñas quickly gained international recognition, culminating in her debut recording two years ago. Now, she prepares for the release of her highly anticipated second album, a bold interpretation of Paganini’s Caprices, showcasing both her virtuosity and her deeply personal approach to music.

For Dueñas, one of the defining moments of her early career came with winning major competitions, particularly the Zhuhai International Mozart Competition for Young Musicians at 14, which gave her early exposure, and later the Menuhin Competition, a turning point that propelled her onto the world stage. “That was really the impulse for everything,” she reflects.

Dueñas draws inspiration from the legendary violinists of the past, including Jascha Heifetz, David Oistrakh, and Yehudi Menuhin, artists she admired for their distinct, instantly recognizable sound. “I was really impressed by how personal their playing was,” she shares. “That’s what I always wanted to achieve—to be recognized by my own sound.”

Among her most memorable performances, she highlights working with Herbert Blomstedt, calling him “such an inspiring person and musician.” Collaborating with Gustavo Dudamel was equally meaningful, as she found their musical personalities aligned. “I think we share a lot of similar qualities,” she notes. But she also credits Manfred Honeck, one of the first conductors who truly believed in her, as a pivotal mentor. “He supported me from the beginning, and that meant so much.”

Her upcoming Paganini Caprices album, released under Deutsche Grammophon, is a project she has dreamed of for years. “This music has always been a huge part of my life,” she says. Having played Paganini in competitions, as encores, and throughout her studies, she wanted to present a recording that balanced technical mastery with musical depth. “Paganini was deeply influenced by bel canto opera, and I wanted to bring that out—to not just focus on the virtuosity, but also the lyricism and expression.”

The recording process was an intense, year-long endeavor, unlike her debut album, which was recorded live. “This time, I had to be completely self-motivated in the studio,” she explains. “There’s no audience, no conductor—it’s just you and the microphone. It was challenging but also deeply revealing about my own playing.” The project featured a wide range of collaborators, including conductor Mihhail Gerts and the Deutsches Symphonie-Orchester Berlin, pianist Alexander Malofeev, guitarist Raphaël Feuillâtre, and violinist Boris Kuschnir, among others. The album spans 30 pieces, including lesser-known works and newly commissioned pieces.

Beyond Paganini, Dueñas is committed to expanding the violin repertoire. She regularly champions lesser-known concertos, recently performing Halvorsen’s Concerto and preparing Saint-Saëns works for future performances. “It’s important to keep playing the greats, but also to introduce audiences to works they may not know,” she says.

Navigating the classical music industry has had its challenges, especially coming from a non-musical family. “I had no connections in this world when I started,” she admits. “Finding the right people to support you, like Honeck or [Vladimir] Spivakov, is invaluable.” She emphasizes the importance of developing a personal artistic voice and making deliberate choices rather than simply following trends. “You have to be very clear about what you want to do with your music,” she advises.

Looking ahead, Dueñas envisions a career not just of performances but of impact. “My main goal is simple: to share music and make people a little happier,” she says. She also hopes to serve as a role model for young musicians, particularly those without industry connections. “Growing up in Spain, I didn’t see many examples of people like me making it in classical music. I want to show that it’s possible.” Bringing younger audiences into the concert hall and making classical music more accessible is also part of her long-term mission.

Outside of music, Dueñas has a natural intuition for people, claiming an unusual talent for reading emotions and “vibes”. If she weren’t a musician, she says she would have been a ballerina, drawn to the precision and elegance of dance. Her mornings begin with reading or listening to vinyl records, setting a contemplative tone for the day ahead.

For Dueñas, success isn’t measured by awards or fame, but by hard work and passion. “That’s what drives me,” she says. “As long as I stay true to that, I know I’m on the right path.” With her remarkable technique, unwavering dedication, and a vision for the future of classical music, Maria Dueñas is undoubtedly shaping a career that will leave a lasting mark on the world stage.

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