Good morning.

Today we’re listening to Melissa Galosi, an Italian pianist and composer based in Fermo. At age ten she began learning piano, eventually going on to study at the Fermo Conservatory of Music and teach piano lessons herself. Only in 2022 did she begin writing original pieces, as she mentions below. Her latest record, Acorn, came out in September, and its eleven soft compositions take inspiration from artists such as Nils Frahm and Olivia Belli. We’re also playing her 2019 LP, Games, on which she performs piano works by Mozart and Hungarian composer György Kurtág. A conversation with Galosi follows the streaming links.

Acorn - Melissa Galosi (30m, no vocals)
Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / Tidal

Games - Melissa Galosi (60m, no vocals)
Spotify / Apple Music / YouTube Music / Amazon Music / Tidal

What's your earliest memory of music?

My earliest memory related to music dates back to when I was a child and intensely desired to learn how to play the piano. I remember one evening when, overwhelmed with emotion, I cried desperately, trying to convince my parents to send me for piano lessons. That morning, I was 10 years old, and my school had taken us to the theater to attend a concert by a young girl from my town, who had just graduated and started teaching piano. Her performance deeply impressed me: there was something in the way she played, a magic in the notes that filled the hall, that completely captivated me.

When I returned home, I knew I had to play too. But before that time, I remember how much I loved singing. I often sang popular Italian songs, perhaps from some cassette tapes that my father kept in the car. My grandparents were very happy to listen to me, and those melodies represented a way for me to express my joy and passion for music.

However, when it came to learning how to play, my parents were skeptical, especially my mother, who thought it was just a passing whim. Growing up in a traditional family, investments were made cautiously, and for them, investing in piano lessons and a piano was an important sacrifice. After repeated insistence on my part, they finally agreed. My father, however, warned me that I wouldn’t be able to quit, as it was not an expense to be taken lightly.

Fortunately, I never felt this warning as a threat; on the contrary, I always had the certainty that music would become my work, both as a teacher and as an artist. Even in the most difficult moments of my journey, my conviction never wavered. Music has been a constant companion, and over the years, I discovered that playing the piano was not just a hobby but a true expression of my identity.

How does teaching piano influence your composition and performance?

Teaching piano is a fundamental aspect of my musical journey and a passion I have nurtured since I was 18. My dedication to teaching has been strongly inspired by my own teachers, who imparted not only technical and theoretical skills but also a deep love for music. This experience has allowed me to develop a more reflective understanding of music, as explaining complex concepts to my students forces me to clarify my ideas and review my approach.

Guiding my students through repertoires of different eras and styles offers me the opportunity to continuously explore new musical languages. When I teach, I move from Bach to Mozart, from Chopin to Satie, and up to Einaudi, Richter, and Arnalds, thus embracing a wide range of styles. This variety greatly enriches my compositional approach, allowing me to incorporate techniques and influences that I might otherwise overlook.

Moreover, teaching sharpens my ear, making me more attentive to details such as dynamics and expressiveness. These aspects not only influence my performances but also feed my creativity. Understanding the difficulties and frustrations of my students helps me develop an emotional sensitivity that reflects in my music. In particular, I have found great inspiration in working with children aged 0-6. The playful approach based on listening, singing, and movement has allowed me to explore music freely and spontaneously, overcoming the rigid academic structures I had known.

The title of your new album, Acorn, is a reference to James Hillman's concept in The Soul's Code where everyone is born with a unique purpose, akin to an acorn's unique blueprint for the oak tree it eventually becomes. Tell us about how you encountered that idea and the bearing it has on your music.

A few years ago, I came across some videos of an Italian psychiatrist who frequently talked about James Hillman and his book The Soul's Code. Curious, I decided to delve into his ideas, and I can say that his theory brings me great serenity, especially in moments when I face daily difficulties.

Hillman's idea of the "daimon" pushed me to explore my musical identity, using composition as a means to express my most authentic vocation. I approached composition relatively late, only in recent years, but I had long felt a certain dissatisfaction in playing exclusively traditional repertoire pieces I had learned during my conservatory studies.

Beginning to compose and seeking melodies that resonated deeply with my soul was a true liberation, and this creative impulse is certainly influenced by Hillman's idea. I wrote and published this music feeling I was realizing something authentic. I firmly believe that the concept of "daimon" has fueled my search for genuine musical expression.

How do your surroundings in Italy influence your music, if at all?

I live in a small town in central Italy, surrounded by hills that offer a serene landscape. One of the aspects I appreciate the most is the ability to quickly reach both the sea and the mountains, both within a short distance. Spending time in nature is fundamental for me; I need it to regain the mental clarity that stimulates my creative process. The beauty and tranquility of the landscape inspire me and help me bring my musical ideas to life.

However, compared to cities like Berlin or London, where musical stimuli, especially in the neoclassical genre, are more abundant, my reality is a bit different. Fortunately, social media plays an important role in connecting me with other musicians and creating a network. When I want to participate in special events or concerts, I take the train and move to other cities. Recently, I had the opportunity to attend concerts by artists I admire, such as Nils Frahm, Ólafur Arnalds, Dustin O'Halloran, Olivia Belli, and Ludovico Einaudi. These experiences have profoundly inspired me in my artistic journey, and it would be fantastic to see many more.

Tell us about your personal history with pianos: which one did you learn on, and which one do you play today?

I started my musical adventure on an old upright piano. I don't remember the model, but I know that when it arrived at home, I didn't even stop for lunch after school and immediately started playing until evening.

When my parents realized my seriousness, based on my conservatory teacher's advice, I made the leap to a Yamaha GC1 grand piano around the age of 17. I know that for them it was a significant sacrifice, but to tackle a certain level of classical repertoire, it is essential to study on an adequate instrument.

During my years in the academy, my classmates and I were very dedicated to studying, so much so that sometimes we even broke some strings on those poor pianos. Occasionally, we found ourselves playing in the room with the worst piano, which became an opportunity to try to pull something good out of it. Then there were the lucky days when we could use the Steinway piano, and it was in those moments that playing on such an exciting instrument became a unique experience. Everything I had musically in mind was returned to me by the piano, responding with an expressive capacity unparalleled.

In recent years, as I approached a neoclassical style, I found a Zimmermann piano made to Bechstein's design, which has also become the instrument I compose on for a couple of years and on which I recorded Acorn. This piano has a great richness of harmonics, and I sought a mute specifically to achieve an intimate yet full sound that retains its original character. I must say that it really makes a difference to write while playing a piano whose sound and timbre are so inspiring. I no longer just write by thinking about the succession of notes; I have realized that the timbre itself is a significant source of inspiration for my creative process, as it becomes an integral part of the composition.

Recently, my husband's restored Yamaha G2 grand piano arrived home, and I am curious to experiment with recording my music on this instrument as well.

Who are the pianists you admire the most today and from the past?

Among the pianists I admire the most, Glenn Gould holds a special place. The uniqueness of his interpretations, which range from Bach to Beethoven, never ceases to amaze me; in particular, I have a soft spot for his Op. 117 intermezzos by Brahms, which touch me deeply, and I never tire of listening to them. Another pianist I greatly admire is Mitsuko Uchida, whose interpretations of Mozart and Beethoven are characterized by unparalleled grace and elegance.

An artist who has recently caught my attention is Víkingur Ólafsson. His ability to combine tradition with a modern touch is extraordinary. His knack for making classical works fresh and original is truly unique.

What are you working on next?

Currently, I am working on a new EP that I will release with Moderna Records, a project that connects to the theme of my album Acorn. I have almost completed the writing phase, and in a few weeks, I should begin recording. Additionally, I am already reflecting on the structure of my next album, seeking to gather ideas and inspirations for new compositions.

In the meantime, I will devote myself to presenting Acorn and expanding my audience through live concerts. I truly believe in the importance of connecting with people, especially in an age where digital channels dominate. There is a unique magic in experiencing music live, and I want to share this magic with everyone.