Its been long time since i have heard people naming like this the albanian pianist Aleksandwr Gashi, and theoretically speaking i never agreed on this. But the more time goes by, the more he gets closer to the Chopin. Speaking the truth i have been following his character carefully. I am not talking about his look, the long hair, his thin face, his aristocratic elegance, the long fingers of the big hand, his piano playing gestures. More and more i think that his music Is quite close to that of the great Polish. It is Located in the cradle of his fiery loneliness, fragile and full of virtuous explosions; sweet and associated by the typical solos of the country north or south music, and what is most to mention, as elegant as crazy.
In his music it is felt the mazurka exchanged with original small shapes where the melodic passages of the magnified seconds are sparking the authenticity; the Polish characteristic waltz, exchanged with the tragic, thunderous, of our traditional ionosphere, as well as our ballads ore the preludes of a specific elegance and the essentiality of folkloric exploitation, where the accords pushes the melody to sing with strong blows or blasts. Gashi’s creativity creation remains in the sphere of a lyric of the Chopin kind expressed in genres and various works mainly for piano or piano and violin. Being influenced by the era of evaluation and re-evaluation of programmatic music he usually names his works like: Gorgolio, Lahuta, etc.
Like the creators of his generation Gashi’s creativity is underlying on two periods: The first one ends in the 1990s. It’s about a carrier being established in his native country where the music genres were concerts, symphonies, or chamber music with a good echo all across the country, which places him in the forefront of gifted and prospective composers. The second period is born in Italy, mainly in medium and small genres, where piano takes the lead; it is more moved in terms of composition language, taking forms of freedom of time or those of the aristocratic flavor of Italian culture. Refusing the extreme experimentation of the rest of the world, Gashi once again remains loyal to his great poetry and small geographical world, grandiose asof Chopin’s world in the communicative and reduced strength in renewing the linguistic tools of the century; sincere up to naive to himself and interesting up to shocking to the audience.
Alexander Gashi is having another powerful weapon, which is pianism. In this field much more than anywhere I would see similarities to the greatest of the Polish. I can notice this on his basic repertoire, which consists of almost all the Chopin works, but also for his piano technique, the improvisational force, the gestures, the powerful colors he uses when painting infinite love miniatures and many more like these. His velvet sound, the flatteringly accomplished blossoms, the inner temperament he characterizes when performing, the thin rubato are all of Chopin, coming not only from the strength of his inner talent, but also from the look of the idol he used to have during his entire life for the great Chopin. Remembering the words of Liszt, he writes: “Look at the tree: the wind plays with the leaves and the branches, but the tree does not move.” (Guardate quegli alberi: il vento gioca fra le foglie,le scuote, ma l albero non si muove. Ecco il rubato Chopeniano).
For these and many others he is an outstanding pianist well-known from this country’s parliament or the Vatican to the private salon of his distinguished friends. Always among a selected friendship, he has still been admired by all who, on high interest, have always followed the concerts of the Albanian Chopin.At this end of this,we cannot forget two other features of Gashi: His faith in Christianity and his simplicity. To the last one Gashi himself use to recall the words of Chopin: “Simplicity is the supreme sophistication” La semplicite est la sophiostication supreme)