When Giorgi Gigashvili was about 12 years old, he discovered Argentinian pianist Martha Argerich. A young pianist himself, Gigashvili recently realized he wanted classical music to “become a part of my life” when he saw Argerich playing Prokofiev’s Third Piano Concerto on YouTube “I fell in love with the song” and Martha Argerich during the video, he said.
Argerich became the aspiring Georgian musician’s idol – and just a few years later, they met under fortunate circumstances. In 2019, when the then 18-year-old Gigashvili won a piano competition in Spain, he met the jury chairman Argerich. “That’s when I truly believed that what I was doing was the right choice,” he said.
This is the life of one of the world’s most acclaimed emerging talents in classical music. Now 24, Gigashvili already has a string of achievements under his belt: a sold-out performance at New York’s Carnegie Hall and becoming the winner of the world-renowned Arthur Rubinstein International Piano Masters Competition in Israel in 2023 One of them, and won the honor of resident artist at the 2024 Beethoven Music Festival in Germany, etc.
But it is worth noting that Djigashvili did not limit himself to the genre in which he first made his name. Instead, he blends pop, electronic, and experimental music because he believes that each musical genre has its own unique charm and that none should be underestimated.
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Djigashvili’s eclectic tastes can be traced back to his childhood. Long before he was playing in concert halls and receiving accolades, Gigashvili’s mother and aunt fostered his love of classical music. “We always had classical music playing in our house, either on vinyl records or on the radio,” he recalls. “The sounds of this genre and the works of great composers became part of my memory. We had an old piano in the house and from an early age I was attracted to its keys. I loved its sound. At the age of 6, he started taking lessons. ” Learning classical music can be a stressful process for many kids,” he said, “but for me it’s a source of great joy. “
But at the same time, he became interested in other types of music as well as musical films in 2006 dream girl is a major catalyst. An older friend gave him a copy of the film, which he said he watched “several times a day.”
“The music was very different from classical music, but it left a deep impression on me,” he said. “This was the beginning of a period when my love and interest in music was no longer defined by genre. The idea that classical music is insular and that a love of classical music excludes a love of other genres is a snobbish approach that is inconsistent with It has nothing to do with understanding the phenomenon of music. I think it is wrong to think that there are no serious genres other than classical music. I would not divide music into serious and non-serious genres. To me, each genre is serious and unique.
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In turn, despite his reputation in the classical world, Digashvili also dabbled in other genres. In his many collaborations with young Georgian artist Nini Nutsubidze, he draws on pop, electronic and other contemporary styles, including modern interpretations of retro Georgian songs – both nostalgic for the older generation and in a catchy way Introducing young audiences to their culture’s musical heritage. Listeners of all ages are captivated by these recordings.
At the Beethoven Festival, Gigashvili performed with Nusubidze, who played a unique blend of classical, folk, electronic, pop, hip-hop and Georgian retro music. “The fact that I am involved in creative, modern experimental projects as a classical music performer and pianist is of greater interest to Western audiences,” he said. “Today’s global audience is more curious and interested in experimental approaches.”
The creative process is different for each genre, but it is these differences that make his work interesting and diverse, Gigashvili said. “When you play classical music, the opportunities for interpretation are more limited,” he said, explaining that because classical players “can’t subtract or add notes,” the genre relies on more subtle differences in technique and emotion. “I like this limitation because it makes me think more about what I can break and where I can push the boundaries. When I play contemporary music and I’m at the keyboard, I’m completely free. I don’t have to be in a specific piece Add my personal signature, because I am already the author. These two experiences together created George Gigashvili.
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Meanwhile, as Gigashvili’s platform continued to grow, he used it to advance causes beyond music. Djigashvili is one of those artists who stands out for his active civic stance. With Georgia’s relationship with the European Union at a crossroads, Djigashvili has spoken out in support of the country’s European future and protested against injustice.
“When I speak out on social issues, first and foremost, I am a citizen, not an artist,” he said. “This is my first priority. Even on the day I stop performing, I will still speak out, I will still express my position. Today, when Georgia’s European future is at risk, I believe it is the responsibility of every citizen to make it clear Expressing one’s civic stance. This is especially their responsibility if they have a large audience and the right platform. If one does not have the right civic stance, to me their art, including music, loses value.
Gigashvili anticipates a busy year in 2025 – he will embark on a US, Asia and European tour in January and will soon begin recording his second album, which will feature Prokofier husband’s Piano Sonatas Nos. 6, 7 and 8 – the music’s usefulness as a motivational tool that continues to inspire him.
“Once, after a concert, an audience member came up to me and said, ‘I seemed to have forgotten that I had emotions, but today this music reminded me that I am human,'” he recalled. “I’ll never forget that comment. If a performance makes you cry, laugh, sad, happy or even angry, that means it’s real. To me, that’s the purpose of music.
