by Miriana Soli
Andrea Rebaudengo is well known for his eclecticism. He was born in Pesaro in 1972, and even if he was classically trained he didn't get stuck in a tunnel vision of music. Be sure you're paying enough attention when he starts playing the piano: with his skills he can charme our hears with a classic sonata as well as with jazz improvisation, very hard to predict. On September 29 at 14.30 we'll listen to two pieces composed by Carlo Boccadoro and Fabio Vacchi. They will introduce us to their own compositions right before Andrea's performance. Two different point of view will be offered us: composition and interpretation side by side allows the listener to fully enjoy the performance. Now we just have to wait!
How does your classical training affect your actual comprehension of the contemporary music you perform? it has ever been a restriction in any way?
Of course, my training has been crucial for the comprehension of today's music. Also, the jazz training that I've carried out in my adolescence has been essential getting me more open to different speech and rhythm.
Which author or specific repertoire you think is more similar to your own way of thinking the music?
For what concern the solo repertoire, I feel more confident in playing contemporary music. I think it's closer to me. I also like the whole chamber music repertoire.
Are there any circumstances in which you work more as a composer than like an executor?
I don't feel like a composer. I've accomplished the studies in composition in the conservatory but I've never taken this activity seriously. The composition knowledge helps me a lot in my executions.
Do you think that your interpretation of a piece could change if the composer still in existence? Particularly what is like with the pieces that you're going to play in the presence of their composers, Carlo Boccadoro and Fabio Vacchi?
I think it's beautiful that we can discuss with composers about their composition. I believe that the sharing of point of view and opinion can enhance both the executor and the composer too. Carlo Boccadoro and Fabio Vacchi are good friends of mine too and it helps even more. I've been playing their music for quite some time, I like it and I think it's well suited to my characteristics.
Which are the technical features that a piano must (or must not) have such you can play it comfortably? Can you tell us more about the instrument you will play? In your opinion which are the distinguishing features between a concert grand piano Boesendorfer and Yamaha?
The optimal piano allows the pianist to express in total spontaneity, sometimes the piano itself lead the executioner. I don't like pianos with a very "light" mechanics, I would prefer a piano that occasionally has some resistance. Actually, I don't know which piano I will play at the exhibition. I usually find that Bosendorfer fits wonderfully for the german classic romantic repertoire, instead, I think that Yamaha pianos are perfect for the twentieth-century music where sometimes a clearer sound is needed.
Beyond the event where you are the protagonist, how it feels to be in the Italian capital of musicology as well as violin making?
I'm very pleased to play in Cremona, there is a strong bond between this city and every appearance of music. Moreover, to play in Mondomusica will indeed be very stimulating.