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The man has few records, but they are sufficient to draw the features of his promising career in this field. Colley was slow to launch his serious project on the record for reasons related to the lack of a publisher with whom to sign an employment contract. So far, he has only three albums to his credit, released in 2018, 2019, and 2020 respectively, by a well-known and respected publisher (Chandos) but less known than the giants. He has an album dating from 2014, with an unknown and independent publisher, which is nothing more than a first attempt to attract the attention of a leading source in production and publication. It is popular to start a career as a professional pianist in your thirties, but there are things that make it easier, such as entering and winning a contest, or the social and economic situation. Interestingly, in the 2011/2012 season, Kohli won first place in two competitions (Leeds and Salzburg Mozart Competition), so there may be other reasons that prevented him from being sponsored by a respected publisher at the time.
Italy has a large number of classical musicians. It is one of its oldest and most important sources, and the phrases used in musical theories, we must not forget that most of them are Italian. As for playing the piano, he is not the first in terms of importance and number (as expected), but his symbols are very large in his field, such as the honoree in the second stage of this series, and his student, today Master Maurizio Bollini. From here, Federico Colli can be considered the hope of the Italian classical piano in the near future, knowing that he is not the only one to make this hope, as we mentioned, for example, to his compatriot Pietrice Rana, who assured a strong boost to his career through his latest album (2019 – Works by Raphael and Stravinsky).
Federico Colle performs superior, both technically (like all adults) and intellectually (like some of his colleagues). His playing is modern, if the description is correct, which allows him to reopen doors that we think were well closed, and we refer specifically to the results he is currently obtaining in the field of interpreting the sonnets of the Italian Baroque author. , Domenico Scarlatti (1685-1757), After the World Heard the Performance of Giants, by Clara. Haskell (mid-1950s), followed by Vladimir Horovitz, then Christian Tsacharias, and after him Ivo Bogorlich and others who contributed to this repertoire (on the clear piano, as there is another branch, Scarlatti plays the harpsichord, and the comparison between the two branches is not valid).
Federico Colli, born in Brescia, enjoys a special relationship with music, since he dedicates an essential space to in-depth analysis and contemplation, from the perspective of our time, with related topics, starting with the great authors and their works and how art in general is approached today and where the crisis of our society lies in its relationship with beauty. In addition to his first task in making a recording, that is, to interpret the works he chooses, the musician / thinker immerses himself in the deep idea that prompted him to choose this or that author, or these or that work, to explain in interesting way the concept on which the album presents. For example, its latest edition, which is the second part of a series dedicated to the Italian author Scarlatti, is based on the concept of “duality of opposites” which, when combined, creates an ideal harmony that necessarily creates any beauty. The man knows a lot about history and likes the present. Consequently, he is fully aware of how and why today’s society tends to ugliness, overcoming a huge legacy of beauty and losing the ability to create a new industry of its standard. This intellectual critique of Kohli not only benefits the audience from a philosophical point of view, but also opens up new horizons in the listener’s relationship with works known to him (through previous recordings) and makes the performance or performance choices of the man are clearer (for example, we understand why you chose a relatively high tempo in this work. Or why you lengthened the time of some areas of silence in that piece. By the way, this is not popular in the field of music ( classical or otherwise), as musicians rarely participate in the formulation of record books, specifically through texts with philosophical characteristics, noting that it is reassuring to see some elements of the new generation doing this.
He has performance power due to his high technical capabilities, as well as self-confidence in performance and focus options.
In terms of his style of play, Federico Colli is an empowered performer. This can be attributed not only to their high technical ability, but also to their self-confidence in the performance and focus options, and this in turn is the result of a deep technical understanding of the work, as a material that is hundreds of years old ( as is the case of the reporter in whom he is working on his last three albums: Sclarate 1, Bach and Scarlatti 2), and as an art product presented at this time. The texture of the piano keys is impressive in elegance and grace. Your left hand has an independent and ever-present personality. The rhythm has a grip with a steel hand (this is necessary in a baroque performance). The dynamics follow a delicate path, often leading to an expected / sudden explosion that closes the deal. His sentences are carefully studied, in terms of their characteristics from their birth to their end, through their development. You have a comprehensive view of the job, you know how to “start” it, how to “seal it” and how to direct it between these two points. This may sound like an incomprehensible or pointless philosophy at best. Perhaps, but what we are describing can be clearly “seen” if you can find some time to listen to at least Cooley’s latest edition (February 2020) containing 16 sonnets from Scarlatti’s repository of 555 sonnets. The elegant sonnets, with him, are thinner. The sad ones, with him sad. That dreamer, with him traveling through space. That “bakhiya” passion, with him, becomes as if he really bears the signature of the German teacher. That lullaby, with him we fell asleep in it (we mean the last sonnet of the album, and perhaps its place is destined at the end for this purpose!) All this is supported, first of all, by the instrument itself, since The Italian pianist plays the “Steinway” piano in luxurious style through his fan, easily distinguishing it from instruments of the same brand (Steinway) and model (D), and secondly, by its brilliant sound engineering in all its dimensions.
His previous album, which was released in 2018, was dedicated to Bach, and in it he gave an outstanding performance without breaking the great records (noting that, in some sections, he actually surpassed adults), but without a doubt it promises results that they will be very interesting to the minimum, if you return to the German author in the next few years. In this context, we sent you four questions and we await your answer that had not arrived (yet), so we will answer them with mere expectations: Who is your favorite pianist? We hope: Evo Bogorlic (clearly influenced by him). What is your next project? We hope: A third part dedicated to a bouquet of Scarlatte’s sonnets. How many parts of Scarlatte’s sonnets will you offer? We would expect: five. Are you planning a second album for Bach and what business or business do you want or want to record from a reporter? We hope: Absolutely. We wish: “The Goldberg Variations.”
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