When I learn a new piece for piano, I don’t like to rely on the first edition that I find… I avoid listening to other performances of the piece I intend to study, in order not to let myself be affected: I ask myself what instruments were originally used, for which audience, and finally I do a real philological work on the text considering the period of composition and, in some cases, also the place; I wonder about the meaning of each single sign on the text and if it was actually wanted by the author. I n particular, I look for the original speed and the rubato, which are often underestimated in the performance of the piece.
My goal, as a pianist, is never to try to re-propose the point of view of the author but to understand it, in order to be aware, as much as possible, of my interpretative choices. I believe that music should always be presented to the public as if they were listening to it for the first time. His entails, sometimes, making unusual and occasionally daring interpretative choices.
I have a preference for demanding or virtuoso compositions because they keep the public’s attention high, thanks to their lively choreography.
Among the composers of classical music, there are two in particular that I prefer and that I have studied most: Ludwig van Beethoven and Fryderyk Chopin. However, I like to explore all the authors: from Johann Sebastian Bach, or earlier, to Oliver Messiaen and contemporaries. When I have the chance, however, I like to propose unknown or slightly less performed authors, in particular Charles-Valentin Alkan, many of whose works I have studied.
In concert, I like to play as soloist as well as with other musicians, in particular I love the combination of piano and cello.
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