Born in Pisa in 1975 and winner, at 24, of the “World Music Piano Master” Competition in Montecarlo, the pianist Maurizio Baglini is among the most brilliant and celebrated musicians in the international music scene. He boasts an extensive discography and an intense concert career in Europe, America and Asia: more than 1.200 concerts as a soloist and just as many as chamber musician. His rich repertoire ranges from Byrd to contemporary music, with important references to Chopin, Liszt and Schumann.
I bought a Fazioli concert grand in 2009, after discovering this marvelous instrument in Rimini in 1998. Then I spent 11 years gathering the necessary budget, as well as testing and discovering an instrument destined to become my companion of a lifetime. Therefore, I am particularly proud of owning the Fazioli F278 No. 1660, an instrument resulting from numerous tests carried out by myself as a pianist and Mr. Fazioli as engineer-piano maker who, I would say, created a whole new instrument through a logic opposite to the current consumer and standardization culture. This is an instrument boasting a “stereophonic sound” as its fundamental paradigm as well as the best existing possibility of pushing the piano or pianissimo to the audibility limit. An instrument that inspires the concept of improvisation in musical execution, too often victim of a research that is an end in itself and devoid of that curiosity mixed with irreverence making every performance different from the previous and the following one. A lasting instrument that improves over time and leaves incomparable space to the interpreter’s individuality. Not to mention the fact that Paolo Fazioli invests a lot on Research and Development, fully conscious of the fact that no result, however “optimal”, can and should be considered definitive. In a world that tends to conform customs and traditions, Fazioli brings back to the top the qualitative concept of “individuality”, undeniable source of civil and artistic progress.
