About Me

BIOGRAPHY

I have spent my life at the piano, chasing sounds that feel like memories, dreams, or fragments of a world I almost remember. Music has taken me to places I never imagined: the Tonhalle in Zurich, the Teatro Colón in Buenos Aires, Vienna’s Musikverein, the Palau de la Música in Barcelona. Yet what matters most to me are not the venues, but the moments when sound becomes something more than notes.

I began performing as a child, long before I understood why music had such a hold on me. Along the way I was fortunate to learn from extraordinary artists, people like William Grant Naboré, Leon Fleisher, Alicia de Larrocha, and many others who shaped the way I hear, play, and see the world.

I have recorded everything from Chopin to Liszt’s Beethoven symphonies, from Respighi to the complete works of Nino Rota, and even Queen’s music reimagined through the lens of Liszt. That album, Sheer Piano Attack, unexpectedly caught the attention of Queen themselves, who shared it across their platforms. I have also shared the stage and the studio with people I deeply admire, including Martha Argerich, Daniel Rivera, Ivry Gitlis, Anthony Phillips, Peter Straker, Asaf Avidan, Michele Placido and Amanda Sandrelli. Each collaboration has taught me something new about what music can be.

For years I was an interpreter of music written by others. Recently I have turned inward, writing music of my own: pieces like Ageless and Three Seconds of Twilight, where childhood memories, silence and time itself seem to surface.

I believe in improvisation, in risk, and in making concerts feel alive. I also feel a great sense of responsibility which makes me want to pass on what I was blessed to receive, which is why I hold a professorship at Trinity Laban Conservatoire in London and founded both the London Piano Centre and the Milton Keynes Music Academy.

Everything I do, from a quiet improvisation played alone to sharing a stage with Martha Argerich, is part of the same journey: trying to turn fleeting emotions into sound before they disappear again. Where that journey leads next is still unfolding.

Photo Gallery

Featured Video

Live in Barcelona 2018

Some Reviews

  • Jed Distler, Gramophone
    A pianist of formidable capabilities
  • Byzantion, Musicweb International
    His solutions to the substantial timbral difficulties arising from the transference of orchestra - especially Beethoven's - to piano range from the inspired to the miraculous.
  • Jed Distler – Classics Today
    Gabriele Baldocci’s superb performances of the First and Sixth augur well for his projected cycle of all nine. Although his care with voicings, balances, polyrhythms (notice the precise yet never rigid articulation of the “Pastoral” first movement’s constant two-against three patterns), and dynamics surely signify Baldocci’s knowledge of the orchestral originals, a high pianistic culture informs his tasteful rubatos and his elegant, lean, and well modulated sonority.
  • Xavier Borja Bucar, Codalario
    Baldocci showed a flawless control of the needs of Liszt's score, as well as a vigorous sound which allowed him to easily fill the hall. Like Argerich's, Baldocci possesses a temperamental and impetuous style, a quality that in the ``Salve Maria de Jerusalem`` translated into an emotive and beautiful interpretation, absolutely faithful to the plethora of colours, dynamics and texture that the score offers.

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