MASSIMO DI GESU
He is a composer working in a stylistic perspective of refined cultural reflection, focusing on the symbols hidden in the sound and in the musical syntax. Quirino Principe (Sole 24 Ore)
Massimo Di Gesu attained the diplomas in Piano and Composition at the Conservatory of Milan. He studied composition with Bruno Bettinelli, and piano with Jole Mantegazza and Anita Porrini, one of the favourite pupils of Cortot and Benedetti Michelangeli.
Di Gesu’s distinctive atonal idiom stems from an idea of musical discourse in which each sound is perceived as necessary, inevitable, and having a gravitational attraction to every other element of the texture.
His works have been performed in venues such as La Scala (Milan), La Fenice (Venice), Weill Recital Hall (Carnegie Hall - New York), Salle Cortot (Paris), St. Martin in the Fields (London), Milan Auditorium, Richter Memorial Apartment (Moscow).
Among his artistic partners: La Scala String Quartet, Wiener Virtuosen [soloists from the Wiener Philharmoniker], Ensemble Strumentale Scaligero [soloists from La Scala Orchestra], Maurizio Simeoli, Andrea Favalessa, Maurizio Zanini, Peter Bradley-Fulgoni.
It is from the collaboration with pianist Peter Bradley-Fulgoni that originated the pieces which, according to Renzo Cresti (“Musica presente”, 2019), are noteworthy expressions of his style: Dionisiaco (2016), FUlGidA, Das Eismeer (2018), Enigma, Rima Petrosa (2019).
«For a long time I have known and esteemed Maestro Massimo Di Gesu whom I consider musician of high level and person of great cultural commitment». Bruno Bettinelli
«His work impressed the audience, even the youngest members of it, who are seldom used to “strong” music (which in this case, due to its emotional dramatic contrasts, was of the strongest). I was particularly compelled by the middle movement, which is definitely a manifestation of the artist’s craftsmanship and talent to fascinate». Quirino Principe (review of the world premiere of “Verdigo” for string quartet at La Scala Theatre - Sole 24 Ore)
«His piano music has a unique tonal language [...] and represents a breath of fresh air in the doldrums of ‘contemporary music’ malaise». Peter Bradley-Fulgoni (“The mystery of modern dissonance” - ARQ, Cambridge University Press)
The piece is very engaging, expressive and formally intriguing. I also appreciate the inspiringly idiomatic instrumental writing: in terms of performability and effectiveness, it seems a piece written by a guitarist. “Lapillus” is an excellent achievement and an important contribution to the guitar repertoire. Andrea Dieci