MASSIMO GON SPIELT CHOPIN - Gon

MASSIMO GON PLAYS CHOPIN ( CVLD271 )

Author : Chopin
Performer : Massimo Gon

Available in: HD File, CD

Traces

01 - Nocturne in C Minor op.48, n.1 - 6:28
02 - Fantasie-Impromptu in C Sharp Minor, op.66 - 5:21
03 - Impromptu in A Flat Major, op.29 - 4:08
04 - Impromptu in F Sharp Major, op.36 - 5:29
05 - Impromptu in G Flat Major, op.51 - 5:49
06 - Ballade n.1 in G Minor, op.23 - 8:44
07 - Ballade n.2 in F Major, op.38 - 7:46
08 - Ballade n.3 in A Flat Major, op.47 - 7:05
09 - Ballade n.4 in F Minor, op.52 - 11:23
10 - Polonaise in A Flat Major, "Heroic", op.53 - 7:24
Total Time: 69:41

Notes

Today, major technological advances allow for the production of practically perfect albums, free of any technical errors. This significant shift means that musicians are also inclined to favor the coldness of technically perfect interpretations, but inevitably deprived of a more unified and broad vision of the composition, which represents the very essence of the composer's musical message.
A great aesthete and critic, Walter Benjamin, in his “The Work of Art in the Age of Mechanical Reproduction”, limits himself to underlining the loss of the “hic et nunc” (trans.: here and now), that is, the unpredictability of the performance, which occurs only once, with all its aspects unknown, which however lead us directly to the very essence of the heart of Art.
As for Chopin, I have always been fascinated and influenced by the engravings of the early twentieth century (Friedman, Hofmann, Moiseiwitsch and Cortot), still linked to an almost “handmade” engraving; technology.
In those performances, one can clearly perceive a sense of immediacy, urgency, and “precariousness,” all expressions of a reality tied to an instant and unwilling to represent standards of reference.
On an interpretative level, all this is expressed with a constant sense of surprise, with sudden movements, flashes of lightning, and falls, and with particular attention paid to sound, always "speaking" and capable of revealing the elusive secret of these masterpieces.
I tried to privilege the more lyrical, intimate and captivating aspect, even to the detriment of the more audacious and exquisitely virtuoso aspect, which is also present but is not the most important element.
I therefore hope that this CD can communicate to the listener the wealth of musical insights and compositional ideas, as well as the variety of moods and emotions with which these pieces are elaborated.

MASSIMO GON
Massimo Gon started playing the piano at the age of 5.
He studied at the "Giuseppe Tartini" Music Academy in Trieste with Luciano Gante. After graduating, for which he received special mention, he studied briefly with Vincenzo Vitale in Naples and subsequently attended Nikita Magaloff's summer courses in Geneva. Following a series of acclaimed performances in national and international competitions (the Premio Venezia, the Cata Monti in Trieste, La Spezia, Osimo and Stresa, and the "Viotti"), he has been invited to perform at some of Italy's most important concert venues (La Scala, the Teatro Regio in Turin, La Fenice in Venice, the Filarmonica Romana, the Teatro Verdi in Trieste, and the Teatro Massimo in Palermo), in several European capitals (Moscow, St. Petersburg, Budapest, Lyubyana, and Brussels), in the United States, and in South America. He has participated in numerous international festivals. He has recorded for the Brussels-based label Empire Master Sound and has released a CD with the complete cycle of Liszt's 12 Grand Etudes for Velut Luna and for Rainbow Classic Records.
He teaches at the “Giuseppe Tartini” Music Academy in Trieste and is regularly invited to hold master classes (Tchaikovsky Academy of Music in Moscow and Liszt Academy in Budapest).