Ludovico Einaudi

Piano, World Music and Jazz

Biography

THERE ARE NO WORDS: MEETING EINAUDI

He speaks as simply as he writes. Hidden in this simplicity is great depth.  He has friendly eyes, a friendly handshake, a bashful smile and an engaging shyness that definitely washes up in his music, along with other more mystical fibres.  He does not speak with me in his first language, but you wonder whether even in his own language he is as methodical in how he answers questions, reluctant to pin his music and methods down too much and risk shattering its delicate, unguarded status. The reticence, the fastidiousness, eyes glinting because of some private amusement, along with his dark neat clothing, egghead spectacles and the gleaming shaved head suggest some sort of cosmopolitan intellectual. Only a pair of sneakers ablaze with giddy cartoon colours gives away the notion that this is not professor, philosopher, guru, but, oddly, a discreet pop star, now known for presenting his tranquil, rhapsodic instrumental music, that sounds like it is only meant for a few listeners at a time, to thousands of devoted listeners.

Some people, he says, when they first meet him, expect that in some ways they are meeting his music, what they see and hear in his music, the emotions, often something approaching the sublime, as though that’s what he is. It’s an easy mistake to make; he and his music do resemble each other. One cannot happen without the other. But the music does not talk – outside the talking it does, as though to itself, in its own time and space, where time is to some extent frozen, held up for scrutiny – and he cannot really talk on its behalf. He has created it, his being is embedded in the music, but he does not control it. It has a life of its own. It does not call itself minimalist, classical, new age, ambient, world, easy, light, pop, chamber, impressionist, it remains mute, and Ludovico does not describe it as anything so specific either. The closest he would get to defining his music is to talk loosely about ‘sounds without words’, in a tradition that extends from Bach to Part and this to some extent extends to even talking about the music. There are no words, although, in the end, there have to be some.

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Reviews

“It was incredible to be a part of it and see and hear the man who has brought classical music to a new generation”

David Morgan

Warrington Guardian

“To say his music is cinematic is all to obvious and Einaudi’s ability to create intricate and emotive musical narratives is a rare gift to be admired.”

Max Sanderson

The Line Of Best Fit