Needed before 2015-12-31
$ 2,500
So far donated
$ 1,335

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Sandro Bisotti

I was born in 1962 and I live with my wife in a little mountain town in N/W of Italy, near Turin. I work as a teacher of basic music education (I’ve been piano teacher but I prefer my actual employment) in public school, and I’m a trader too, having worked as a technical analyst of financial markets and trading systems developer for many years).

I’m very attracted by theoretical and practical aspects of musical interpretation, which I consider at least as important as musical composition. In my opinion the music score is not more than an occasion, a system of clues of sense. The playing (piano playing, the most free among possibilities of music interpretation) being a marvellous land for the human fantasy and ability to combine and to evoke symbols and myths which passes through the score. I have recently begun again to play piano (after about 20 years of no practising) after hearing a recital of Pogorelich, and after discovering some recordings of Sofronitzki. Two pianists who are perfect examples of personal, creative freedom in poetic research through music, at astronomic levels of efficacy, eloquence and charism. Other names, among my best “friends” from yesterday and today: Rachmaninov, Benedetti Michelangeli, Friedman, Hofmann, Cortot, Francois, Richter, Feinberg, Cherkassky, Horowitz, Berman, Sokolov, Pletnev, Margulis….

I love to compare (by myself and with friends, we have and know more than 2000 piano classic CDs) many different interpretations of the same piece, to reflect on the possibilities of thinking and making music and to build a personal perspective of piano interpretation history and aestethics. I hope one can find a trace of this open and comparative approach in the modest recordings I present on this site. Sorry if somewhere I’ll imitate some passages of my beloved: nobody is disconnected from history, and there is really nothing new under the sun.

A last thing: I do not think that there is a precise border-line between professionals and amateurs. The professionals have to play many difficult pieces from memory, at a determinated times, with little or no wrong notes, and, especially at the beginning of their career, they have to follow the fashion styles and the recordings industry's requirements of the moment. The amateurs however, are more free to find and to transmit the magic of music; some recordings on this site demonstrate this hypothesis.

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