How does one prepare for a concert performance of delicate piano pieces that have lulled millions of listeners and reportedly played in hospital wards to soothe patients' nerves? A vigorous game of table tennis, of course.
The table and rackets will undoubtedly feature as part of Ludovico Einaudi’s concert rider for his biggest regional show at Abu Dhabi’s Etihad Arena on January 19.
Speaking to The National, the Italian composer, 69, explains the seemingly counterintuitive effect of the game. The faster and more intense the match, the more centred he feels on stage while performing his contemplative pieces, which are defined by subtle nuances and resonance rather than sheer virtuosity.
Then again, finding the link between physicality and poise, nature and introspection, has been a hallmark of Einaudi’s career. This approach has made him one of the most-streamed classical music artists of all time, with more than two billion total streams.
It’s a distinction that has ruffled feathers in some parts of the classical music world, with some critics and peers labelling his work as superfluous at best. “I never really paid attention to that, and to be honest, maybe the classical music world is a bit narrow because it is mainly connected with music of the past,” he says. “While I appreciate that music, I am mostly concerned about living for today and the moment.”
Einaudi means this literally. His upcoming album, Summer Portraits, out two weeks after the concert on January 31, is inspired by a recent holiday in a Mediterranean villa that housed artworks from a previous resident.
The oil paintings depicting family life and serene forest landscapes moved Einaudi to sketch pieces on the piano. These were later enhanced by strings from London’s Royal Philharmonic Orchestra to create what will be his 17th album.
But that’s as much detail as Einaudi is willing to offer about the project. He prefers to keep his albums conceptually vague, inviting listeners to let the music soundtrack their own experiences.
“I want people to engage with the music through their own stories and backgrounds,” he says. “While I do provide my own personal connection to the album, whether through what inspired me to write it or the photography on the cover art, I invite people to share their perspectives and memories. The idea has always been to connect with people in a variety of ways.”
His 2022 album, Underwater, exemplified this quest for connection even more deeply, considering it was recorded in isolation at his home in Italy during the Covid-19 pandemic.
“Writing and recording the songs that way gave me a sense of abandon and freedom I hadn’t felt in a long time,” he says. “I see it as a postcard of what I was feeling, the nature around me, and a reflection on how we as people live and the kind of world we’ve created.”
Einaudi’s sensory and emotive approach to his craft stems from a background and musical education both privileged and progressive. His grandfather was former Italian president Luigi Einaudi, while his father, Giulio, was the renowned publisher behind works by famed Italian writers Italo Calvino and Primo Levi.
Einaudi began playing the piano as a child under his mother’s instruction before studying at the Milan Conservatory under the experimental composer Luciano Berio.
He credits Berio with instilling in him a more soulful and observant approach to composition. Exercises included transcribing the choreography of birds circling above into piano or orchestral pieces.
“What you’re trying to do is capture some of the beauty of nature,” he says. “It’s about opening yourself to the world because if you stay solely within (tradition and convention), your music and life won’t be as enriched.”
Rendering these emotions and subtle observations in an intimate studio is one thing; presenting them on his biggest arena tour to date is another. Einaudi’s performances are not particularly notable for theatricality. He and his backing musicians typically dress in black, accompanied by dim lighting and evocative visuals.
Einaudi often speaks to the audience only towards the end of the concert, which he says he prefers. “I remember the first time in Berlin at the open-air arena with 22,000 people a couple of years ago. When I started to play, there was this wonderful silence and concentration,” he says. “The crowd went into a contemplative trance, and that is a beautiful thing to share with the audience today. It made me realise that I can play anywhere, and each concert is unique because the music has its own different relationship with the space.”
And each preconcert table tennis match produces different results. While the games with his backing band are competitive, Einaudi describes each stroke and note played as a way to further root himself and career in the present. “I try not to overthink my role in the world … I just live and continue to create what I’m passionate about.”
Ludovico Einaudi performs at Etihad Arena, Abu Dhabi, on January 19. Doors open at 6pm; tickets prices start at Dh250
