by Gaia Sokoli
Cremona Musica International Exhibitions and Festival confirms itself as an unmissable event, packed with events, once again this year. Among the most anticipated is the one featuring Campanian pianist Vincenzo Maltempo, born in 1985, one of the most acclaimed of his generation. Maltempo will be the protagonist of a meeting on September 28th at 2:00 PM in the Sala Monteverdi, where he will present his biographical work dedicated to Charles-Valentin Alkan, an enigmatic figure of 19th-century piano playing. As a counterpoint to his words, he will perform several pieces by the French composer, giving a new voice to this often-forgotten music.
What is the aspect of this author that fascinates you most?
I already knew Alkan, but my true passion developed thanks to the assiduity with which I began to study his music, also thanks to Piano Classics’ proposal to record his works. What intrigues me most is the variety of his language: each work is different, the fruit of constant experimentation, so much so that it’s difficult to encapsulate it in a single definition. The technical and virtuosic challenges present in his compositions are always at the service of a profound musical message. And then there’s also an emotional aspect: he’s a composer to whom I’m very attached and who deserves serious re-evaluation.
How do you approach the study of his works?
They require a lot of work, without a doubt. Some pieces are extremely physically demanding, so thorough preparation is required. Others, however, are shorter and more enjoyable, allowing for a more immediate approach. Now, with experience, I can truly enjoy this repertoire, despite the technical difficulties.
Looking instead at your commitment as a teacher, how do you experience the role of teacher and what kind of motivation do you try to give your students?
Even though I have to work within the constraints imposed by institutional curricula, I always try to encourage my students to explore less conventional repertoire. Alkan, in particular, offers extraordinary technical preparation, useful for well-rounded piano development. But my intention goes beyond teaching: I feel a true mission to help break down the prejudices that still surround this composer, too often labeled as a pure virtuoso. His music is rich, profound, and surprising, and I believe it is important to introduce audiences in Cremona—and beyond—to this little-known but highly valuable artistic legacy.
