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Could you describe what you do as a musician in plain words that are understandable to a non-musician? When people imagine the life of a classical musician, they often picture someone practicing and performing—that’s certainly a vital part of what we do. But in my case, my professional life includes many other equally important responsibilities. I run a musical group that sometimes grows to the size of a full orchestra, and I also organize a concert season in my hometown, Milan. This involves a lot of planning and budgeting. Designing a concert season is not just about choosing beautiful programs—it requires striking a careful balance between an artistic vision and the practical constraints of a set budget.
In addition, I devote a lot of time to research, discovering forgotten repertoire or exploring historical performance practices. This involves reading academic articles and staying in touch with musicologists. Only after all this preparation comes the moment when music is brought to life. That moment—when I sit at the keyboard or lead a rehearsal—is the most inspiring part of the job, of course. It renews my motivation after all the administrative and intellectual work. I often compare it to springtime: seeing flowers bloom after a long, cold season of groundwork.
When and how did you decide to become a professional musician? Did you understand what you signed up for back then? Did it turn out the way you had imagined? I was just six years old when I told my parents I wanted to become a musician. Of course, I was too young to fully understand what that really meant—probably, I simply knew I wanted music to be part of my life. It was after finishing high school that I had to make a real choice: either fully commit to music or pursue a degree in science. By then, I had a better sense of what the path involved, but the pull of music was too strong to seriously consider another route. I didn’t rationally weigh the pros and cons—it just felt inevitable. And yes, in many ways, my life today reflects what I dreamed of as a teenager.
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Do you still listen to music for leisure these days? Yes, I do—though not as much as I’d like. My free time is limited, and I can’t treat music as background noise. If music is playing, it captures all of my attention. So, no multitasking for me when it comes to listening!
What are some works of music that are in your personal sacred shrine? Bach’s Passions, the B minor Mass, the harpsichord Partitas, and Das Wohltemperierte Klavier. Monteverdi’s Eighth Book of Madrigals and parts of the Vespro della Beata Vergine. Mozart’s Jupiter Symphony, Purcell’s Dido and Aeneas… There are many more, but these are especially close to my heart.
What are some recordings that you were inspired by, and why? When I was still “only” an organ student, I discovered the Archiv LPs of Bach’s organ works performed by Ton Koopman—who later became my teacher. One LP of Bach toccatas in particular had a profound impact on me. It might have been the recording that influenced my entire musical path the most.
How important is the presentation of sound to you in a recording? Do you believe a recording can be either “musical” or “sterile”? Sound is at the very heart of music. It should be one of the main concerns of any musician—so naturally, the sound quality of a recording is crucial. That’s why the work of a sound engineer is so important. It’s also why I find it disheartening that so much music today is consumed through low-quality devices—especially mobile phones. Yes, a recording can absolutely be “musical” or “sterile”—but also so much more. Just like performers, recordings can express a wide range of qualities. A good recording is one that conveys the artist’s vision faithfully. That requires not only great musicianship and experience, but also skilled engineering and the right equipment.
How does audio playback gear, especially headphones, influence the way you perceive recordings and music in general? Does it inform your own performance? Have Hifiman headphones brought any revelations to your creative work? As I mentioned, I find it unfortunate that so many people listen to music through low-quality devices. Ideally, audio gear should be invisible—it should simply let the music speak. When we become aware of the gear itself, it's usually a sign that something could be improved. That’s why my experience with HIFIMAN headphones （Arya Organic）was so surprising. I never had a good relationship with headphones before—they always felt claustrophobic and unnatural. I preferred listening through loudspeakers.
But HIFIMAN was different. The sense of space and air around my ears was unlike anything I had heard before. I was listening to a recording of my own organ concertos, and for the first time, I felt like I was actually inside the church where it had been recorded. The sound was astonishingly natural and realistic—it was a revelation.
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What was your proudest work or moment you could share with us? Proudest recording? It’s hard to choose—there have been many performances and recordings I’m proud of. But, being a perfectionist, I always feel that something could have been done better. If I had to name one project, I’d highlight the Handel cantatas series. Not just for the recordings themselves, but for the music, and for having been the first to record the entire set. Thanks to a great collaboration with the Spanish label Glossa, we brought that beautiful project to life.
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Do you have any upcoming performances or albums you’d like to share with us and our audience? Yes—actually, I’m planning a second recording of Bach’s Goldberg Variations. My first version is over 20 years old now, and I’ve decided to challenge myself: can I do it better? We’ll see!
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