GASTON FRYDMAN
MEXICO AND VARIOUS TERRITORIES
Gastón Frydman was born in Argentina in 1996 and started playing the piano at the age of 7. His performances were repeatedly distinguished by specialized critics, who said of him: “An exceptional soloist. He assumed responsibility for none other than Beethoven's Concerto for Piano and Orchestra Op. 73, The Emperor. With him he made his debut on this evening, achieving moments of absolute lyrical inspiration, with very good technique and showing himself to be largely solvent in the most intricate passages of the work…” (From Paradise to You), and “Talented pianist, good technique and a world ahead for this young performer…” (Association of Musical Critics of Argentina).
Since 2018 he has been awarded the 'Goerg & Ferdinand Porak Scholarship', from the Mozarteum Argentino and since 2022 he has been part of the MUCHIMUSIC artist roster.
Possessing a voracious curiosity to explore the limits of what a "classical music" concert means, his presentations with thematic programs have an extensive range of repertoire that goes from William Byrd to commissioned works in the present and all the music and styles crossed in the middle. Added to this, his speeches, arrangements, extended techniques, conjunction of senses, and improvisations seek to transform each presentation into a unique experience.
Awarded in numerous national and international competitions, he offered solo piano recitals, in a duet -with Maestro Rafael Gíntoli-, and chamber music in the most important venues in Argentina (Teatro Colón, CCK, Usina del Arte, Templo Amijai, Teatro San Martin de Tucumán, Municipal Theater of Santa Fe) as well as in other important venues in the United States (Mixon Hall, Kulas Hall), Austria (Bösendorfersaal, Laudon Palace), Switzerland (Hindemith Institute), Italy (Teatro Ristori), Uruguay (Teatro Solís, Fundación Atchugarry), Peru (Auditorio Santa Úrsula) and Paraguay (Municipal Theater of Asunción).
As a soloist with an orchestra, Gastón made his debut performing Beethoven's Piano Concerto number 5 with Maestra Nathalie Marin at the Teatro Colón, followed by Rachmaninoff's concert number 4 with Maestro Sánchez Haase and the Asunción Congress Orchestra a few days later. . The great success of the performances led to numerous new dates to perform as a soloist with many of the most important orchestras from across the continent, including two performances of Beethoven's Concerto Op. 61a with the National Youth Orchestra and Maestro Benzecry at the National Auditorium, awaiting rescheduling due to 2020 cancellations.
In Argentina he studied piano with Edda María Sangrígoli, Pía Sebastiani and Diego Prigollini, as well as analysis and orchestral conducting with Guillermo Scarabino. In 2018, after receiving an invitation from Sergei Babayan, he began his studies with Antonio Pompa-Baldi at the Cleveland Institute of Music, where he also has Ilya Kaler and Kathryn Brown as chamber music coaches and with the guidance of Susan McClary in his history studies.
In addition, he received master classes from Alessio Bax, Angela Cheng, Arie Vardi, Bruno Gelber, Dina Yoffe, Douglas Humpherys, Edith Fischer, Emmanuel Pahud, Giselle Brodsky, Julian Martin, Michele Campanella, Milana Chernyavska, Mirian Conti, Naum Grubert, Nelson Goerner. , Peter Nagy, Pierre Reach, Robert Shannon, Roustem Saitkoulov, and Sergei Babayan.
THE CRITICISM HAS SAID:
GASTON FRYDMAN: A SOLOIST WITH A GREAT FUTURE.
Academic Orchestra of the Higher Institute of Art of the Teatro Colón, Director: Nathalie Marin. Soloist: Gaston Frydman (Piano). Program: Works by Ludwig Van Beethoven. Colón Theater, June 27, 2019.
OUR OPINION: VERY GOOD.
You may be wondering why I am rating this concert as very good. The answer is that there were two fundamental factors for it. The first, an exceptional soloist like Gastón Frydman, who assumed the responsibility as soloist with nothing less than Beethoven's Concerto for piano and orchestra Op. 73 "The Emperor", which he debuted on this evening, achieving moments of lyrical inspiration. absolute, with very good technique and being widely solvent in the most intricate passages of the work.
-Donato Decina. June 2019.
