Solange Bazely: From where does this desire come you for living through the music ?
Gerardo di Giusto: I had the chance to have a family which could offer courses of piano to me as of the seven years age and very early I had a piano at the house.
Undoubtedly that thousands, even of the million people did not have the possibility and the conditions to be able to be expressed thus by the music. I am conscious of having had this chance which enabled me to work the music and the talent if required to wake up. Very known and pretentious people often forget that above all, they had this chance that many others did not have.
After four years of studies, I stopped because of the secondary studies. Around fifteen years I took again of any force this piano which I missed already too much but this time all alone. Curiously, I had the opposition of my parents at the time of a serious discussion in connection with my inclination for a musical future (they preferred me engineer) and I continued the piano like a leisure, with passion during my free moments between my studies and later my work in engineering at Renault. Between my 18 and 23 years, I managed to play with other musicians and, precisely to 23 years, I was invited to form part of group Vertiente of “New Folklore”, as one named this music at the time.
It was the experiment which gave me desire all for breaking in my life to devote me only to the music. And I decided to come to Paris in 1984.
SB: Which formation did you follow to France ?
GdG: I specify that my formation is a primarily autodidact even if I studied two years the piano and arrangement (jazz) then later, obtained my diploma higher of direction of orchestra than the Teacher training school of Music of Paris.
SB: A part from your own music, which other music you play ?
GdG: Apart from the group of Orlando Poleo (large percussionnist vénézuélien of salsa and Latin-jazz) with which I have played for eight years and for which I also compose, I play almost exclusively only my music.
I share the repertory of the collective <b>Cordoba Reunion</b> with Carlos Buschini and Javier Girotto which compose of beautiful topics. It sometimes happens to me to share the repertory in specific projects (with Olivier Ker Ourio or Julien Loureau for example). I wrote music enormously but to play the pieces of the others is sometimes a way of better dividing on scene.
SB: In do the Four-bit byte Cordoba Reunion (with Minino Garay on percussions, Javier Girotto sax and Carlos Buschini bass), how juggle is entered writing and improvisation, between jazz and Argentinian folklore?<
GdG: The composition is for me a fundamental need. In 1989, after three years of experiment while composing for my quintet which I directed (of the tango at the time), I felt the need to change musical course. I thus, composed a whole repertory with a music already inspired of the folklore but from a point of view jazz.
I recorded a disc which I never wanted to leave for personal reasons but in this repertory there were already pieces that I continue to play today (like Chacaraca or Luz de Noche). In Cordoba Reunion, the concept remains the same one: to improvise with the folk language in compositions which keep certain rhythmic characteristics, harmonic and melody of the Argentinian folklore, in a current expression. We recorded a second album in February 2004 but its exit suffers from slownesses of production…
SB: Was you have just left a new album with <b>Camerata Ambigüa</b> on the new label Mañana, but how born this so particular formation and which has occupied you for already a few years ?
GdG: On this topic, I return to non-artistic slownesses… Camerata Ambigüa is a concept which was born in my head towards the end 2000. After a long reflexion on the type of formation to be chosen for a long-term personal project, the multiple possibilities of the string instruments convinced me of this choice of a very homogeneous formation: string quintet and piano.
I contacted the musicians suitable with the project. Not easy to find since it was to know the written music as well as the impromptu one and to have a great direction of the rate/rhythm. After some repetitions, we recorded a first model in 2001 and awaited answers of production during one year. Without stopping the composition, I finished the repertory at at the end of 2001.
In July 2002, we recorded with my expenses, and still not of producer… Eduardo Makaroff listened to by chance this recording and spoke at once to me about its project of label (at the end of 2002), idea which immediately allured me by its philosophy. But it was necessary to await the creation of this label…
<b>Camerata Ambigua</b> is not any more one new project for me. Since the first model, I had time to write and carry out a concerto for Piano and Orchestra, from new pieces for the new recording of Cordoba Reunion, a Suiute for piano alone, a new project with Japanese musicians and a series of pieces for Quatuor of Saxophones and Piano. It will come…
SB: As are a type-setter, which your experiments of your music played or ordered by others ?
GdG: I always have a preoccupation with a universalization in my way of approaching the composition while being with against current. One of the great successes in the music of Piazzolla for example is not to remain only intended for musicians who know the Tango perfectly, it is played everywhere in the world.
I try to use my folk roots like my share of a personal style, but by imagining that it can be included/understood by any a little open musician. I see as this optics functions since my compositions for orchestra (with cords, with winds, choral society…) are played and recorded by prestigious formations as well in France as in Argentina, and than of new orders arrive.
It is the example of my Suite Concertante for Piano and Orchestra with Winds. A project that one had asked me Cordoba (Argentina) and who strongly allured the Chief of the Harmony of the French Air Force (Thierry Pink) at the time of a meeting. It relied on me to make me the ordering of work only by reading an end of partition. This work were played ten times between 2002 and 2003 and I also recorded it with this prestigious orchestra.
In my improvised field, I come to have a great surprise in Japan, one of the most beautiful experiments of my musical life: Carlos Buschini with low, with a percussionnist and a violonist japonais(Tomohiro Yahiro and Aska Kaneko) with which one made a beautiful round in 21 concerts and a recording with primarily my music, the result is astonishing!
SB: With all that, which repercussions that has ?
GdG: I feel that I currently live a moment-key in my musical life and I remain concentrated on my new projects, in particular the exit of the album with Camerata Ambigüa which has already echoes. I always believed in this long-term plan.
Very soon, the review Piano Magazine will devote an article on my music, Francisco Cruz de Jazzman wrote about the disc of <b>Cordoba Reunion</b> well…
SB: Which are precisely your projects as a type-setter and as an interpreter ?
GdG: I have a ordering of the ARIAM based on the book Argentinian worship, “Martin Fierro” for a great formation, for 2005. Of new pieces for the Japanese project GAIA, which only has just started with a new round scheduled for September 2005. We intend to make scene with la Camerata Ambigua to turn the repertory like preparing new for the next album. I need to play of the piano, it is my language of communication, I have it inside.
Now that I am convinced of the language, I feel ready with the idea of an album piano solo, formula more flexible which depends only on me. The concept is an engine and I can then decline it and play with other musicians, other sonorities, other personalities.
I thus for example will supplement and give birth to the project “piano and quartet from saxophones”. I want to make different projects and this formation also interests me to propose with various quartets of saxophones and to thus be able to make travel my music.
I already wrote four pieces which form a continuation. Following the preceding order, I also wish to harness myself with a double concerto for piano, bandonion and Orchestre… And obviously to find the musicians to play it but also financial means and logistics to carry out all that ! There is much to do !