There are certain encounters and experiences that one never forgets.
One such experience I had in 2022 has now been repeated in recent days: taking part as a lecturer at the XIII International Summer Piano Academy in Disentis (CH). The journey to get there is like a journey of initiation: through the mountains and rocks, over the Lucomagno Pass (1,914 m), the little lake, and with a flock of goats on the road, then the great surprise of seeing the colossal Benedictine monastery where the two-week piano course takes place, in a very special atmosphere of peace and serenity.
Students from all over the world, under the guidance of internationally renowned piano masters, prepare for a competition, a concert, or a recording, whilst attending private lessons, concerts, and lectures.
This year, I gave a presentation on “Authenticity and visibility in the world of classical music: between likes and algorithms.” A vast and highly topical subject, which has many different aspects.
So many questions, so many doubts. Can we still be authentic, and what does that mean? It seems so obvious, but is it really? Digital technology has created a tension between artistic value and the quantification of behavior. The gatekeepers from the 20th century are joined by the invisible digital gatekeeper of algorithms. How might digital visibility reshape the classical music ecosystem over the next decade? Are our artistic choices (musical, aesthetic) determined by invisible technological systems? How can musicians navigate in a world where invisible software often decides what becomes visible?
Thanks to Nina Orotchko, “Musical Discovery,” Künstler- und Konzertmanagement, Zürich, for her perfect organisation and hospitality.
Best wishes for a brilliant career to all the talented piano students.