I have always been interested in contemporary music. This is what brought me to Germany, specifically to Cologne, where I've been based since 2011. When I arrived, I was astounded by the wealth of concerts featuring contemporary music, from small ensembles in ateliers, large ensembles in abandoned warehouses, all the way to the big symphony concerts in the Philharmonie. I was all ears, and incredibly excited by the diversity of contemporary music I heard around me. In one of these early concerts I attended, put on by the Westdeutscher Rundfunk (WDR) Sinfonieorchester, I encountered a composer that I'd never heard of before, a young Italian composer named Francesco Filidei, and a piece that burned a hole in my musical consciousness - "Fiori di fiori" - for years afterwards (I remember downloading the recording of it on my very first smartphone, listening to it everywhere I went and insisting on showing anyone who had approximately 17 minutes to spare). This is one in Filidei's cycle of orchestral works in which he simulates the sound of a church organ - this particular one is from Rome. The listener is immersed fully in this sound painting, where he not only reproduces the organ, but also the acoustics it is in, including the background noises - from bellows and stop pulls, to the music which is played there - in this case, fragments of Frescobaldi. Yet sometimes, in between these quite literal imitations of sounds, there are moments of spontaneous musical ecstasy that burst through and rupture the delicate and barely tenable musical fabric he's weaved, leaving the listener breathless. Filidei's airy orchestration and whimsical touch in form was completely new and mind opening for me.
A few years later, after a recital I gave as the Artist-in-Residence at Royaumont in France, I was stunned when Filidei himself came to congratulate me (he was giving a recital as organist at the same festival), and couldn't help but mention what an effect this piece had had on me in my first years in Europe. And now, my encounter with this piece has come full circle: in 2019, I made my debut with the same WDR Sinfonieorchester at the closing concert of the Wittener Tage für neue Musik, premiering a piano concerto by composer Lisa Streich, who was also highly influenced by Filidei's soundworld. And in 2023, I will be recording a number of Filidei's never-before-heard early piano pieces, which I've just received from the composer, as part of a CD of Italian contemporary music for piano with B Records.