Tommaso Marino

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Biography

Tommaso Marino is an Italian pianist recognized for his artistic refinement and the depth of his interpretations. He began studying the piano at an early age and trained at the prestigious Conservatorio di Santa Cecilia in Rome, where he had the opportunity to learn from renowned masters of the international scene.

Throughout his career, he has given solo recitals, chamber music performances, and appeared as a soloist with orchestras, being invited to perform in concert halls and festivals across Italy and Europe. Audiences and specialized critics have praised him for his impeccable technique, expressive sensitivity, and ability to convey the genuine emotion of every work.

His repertoire includes masterpieces by the great classical composers as well as modern works, which he interprets with the same passion and intensity. With his unique style and youthful energy, Tommaso Marino brings classical music closer to new generations, turning every performance into a memorable experience.

• What sparked your passion for music?

  Well, I have a funny story.

  When I was a child, I was obsessed with the sound of the church bells. My father, who is a pianist and a composer, made me listen to them, and I was truly obsessed with their sound.

  One day when I was three or four years old, I was listening to the church bells. I heard a particular bell, and I was able to tell my father what its exact pitch was. We discovered that I have perfect pitch, and my father told me that I can start playing piano.

  There isn’t a specific moment when my spark began with the music, but I think I was always surrounded by music, thanks to my father, but I can say that in this special moment, I started to understand music better.

• Do you have a favorite piece or a composer?

  Well, all music that is well written is beautiful, so it is very difficult to pick a favorite piece.

  Picking a favorite composer is easier for me. I think Franz Liszt is my favorite composer because he had the capability of merging two important characteristics in music: the more rational and intellectual part of music and the more passionate and virtuosic part. He was a magician at merging these two types of characteristics in music, which is definitely the reason why Liszt is my favorite composer.

• Which particular works or composers do you think you perform the best?

  Well, I think that I feel closer to the composers from the Romantic era, like Liszt, Schumann, Chopin, and Brahms. I feel more connected to their music due to the fact that they could express their emotions in their works better, which was very important in the Romantic era. Of course, I also love the composers from the Baroque, Classical, and Modern eras, but for me, as a performer and a musician, I feel closer to and perform better the pieces by composers of the Romantic era.

• Which performance are you most proud of or resonates with you the most?

  Well, that is a very difficult question, because I am almost never proud of myself. I am very self-critical, and I always tell myself, “No, I haven't done that the way I should’ve; it is not good enough,” or something like that. Even when the audience comes to me and tells me, "You’ve done a good job,” I always say, "Thank you. I didn't compose it!”

  But if I really need to pick one, I think when I performed in the Borromini Hall in Rome, I think I played well there. Also because the environment was very beautiful, the audience was very nice, and so was the program that I had chosen that day. This combination of things helped me to feel a little bit better, but just a little.

• Which musician do you like the most or are you most influenced by?

  I have two favorite musicians: the Croatian pianist Ivo Pogorelich and the Russian pianist, conductor, and composer Mikhail Pletnev.

  These are two of my favorite musicians because I think that they truly embody the concept of freedom in their music. When I hear them, I am truly moved by their capability of communicating with such ease. It is easy to listen to them and to understand what they are trying to express through their music. It is also beautiful, because every time I hear Pogorelich or Pletnev play something, even the easiest piece, I am moved.

  In Rome, some years ago, Pletnev came and played the famous Chopin nocturne in E-flat major. It felt like it was the first time listening to the piece; it felt so new. At that moment, it struck me to the core of myself. That is what I truly think is important in music and is the reason why other musicians and I perform.

  One of my goals, in fact, is to achieve this kind of freedom in my own way, but right now I am learning the language of the composers.

• What do you do offstage that inspires your musical artistry on stage?

  Well, I always try to find music in every part of my daily life. For example, I really enjoy taking long walks near my house. There is a beautiful park nearby, and I often listen for music in nature, in the voices of people talking, or even in the horizon itself, searching for inspiration. For me, the most important thing is this idea of inspiration. That is why I remain so focused on it, both in music and in life.

  As I mentioned before, I try to find music every day, not only through instruments but also beyond them. When someone tells me a story, for instance, I look for something in it that I can translate into sound on the piano. My goal is to develop the ability to tell a story through music whenever I play. That is why I make these efforts every day.

• Do you have any unique practice techniques or routines?

  Well, the key word in my routine is discipline. I usually practice six to ten hours a day, and during that time I focus on developing my physical, mental, and emotional abilities. I’m very drawn to what I call the Picasso complex of inspiration, as I mentioned earlier. Of course, we can have all the inspiration we want, but it needs to be supported by a solid foundation of technique. At the same time, it’s important not to treat technique as something purely mechanical. Scales, arpeggios, and exercises can sometimes feel tedious, but I try to approach them as work for music, not the other way around.

  I make an effort to find music in every note I play and in every nuance of intonation. That takes a lot of time and effort, and sometimes I need to step away because it can be very demanding. This path is not for everyone, and at times it feels like being lost in a void. That’s why I take long walks in the park and try to have experiences outside of the piano; it helps me stay balanced.

• What have been the greatest challenges of your career so far and how did you overcome them?

  I think the greatest challenge for me, and one I am still working on, is overcoming myself and becoming a little better every day. I know I cannot suddenly take giant steps or transform overnight, but I try to make small improvements each day by experimenting with new approaches and searching for something fresh.

  Even in pieces I have played countless times, like the Mephisto Waltz you heard, which I studied one or two years ago, I still try to discover something new every time I play it. Sometimes it feels unusual or unexpected, but that is part of the process. Of course, simply noticing something new is not enough; you must also be able to demonstrate it in your playing, and that can be very difficult.

  For me, this is the essence of overcoming myself. At times you need an extra push, whether it comes from within or from the outside. But above all, you must continually have an introspective conversation with yourself, asking questions and reflecting deeply. I believe that is the true role of a musician. I think of it that way every day.

• What advice would you give to young or aspiring musicians?

  As I said before, inspiration is always around us. You can find it in a conversation with a loved one or in a meaningful experience. We should not focus only on the mechanical aspects of music, treating finger exercises as boxes to check off. Even in something like a Czerny study, the goal should not simply be training the fingers but asking, “What can I achieve musically with this?” Because in the end, all music is wonderful, so it is about inspiration and meaning.

  At the same time, it is important to remain humble and self-critical, but not overly so. We need to be able to say to ourselves, “I did well. Now let’s move on to the next step.” The key is to stay humble, to keep searching for music in everything, and to always nurture inspiration while doing the best we can.

• What do you feel needs to be done to grow classical music’s audiences, and how are you contributing to it?

  I believe that the correct use of social media can greatly support classical music. We already have all the tools, but often we do not use them in the right way. If we are educated enough to understand how social media works, we can use it to promote not only classical music but other genres as well.

  At the same time, we must also educate the audience. That means being convincing in the way we perform: bringing our own ideas and interpretations while still respecting the composer’s intentions. Educating listeners today is not as simple as it might have been a century ago. This era is very challenging for classical musicians. We need to be cautious but also brave and determined in order to carry this music forward.

  For me, the most important mission is to educate people, and I believe social media can be a powerful tool for that. I am also trying to contribute in this way.

• How do you calm your nerves before a performance?

  When I have to perform in a particular hall, I ask myself a series of questions: Did I do this? Did I do that while I was studying? If I can honestly answer yes to each of them, then I feel prepared. Of course, mistakes can still happen, but when I perform in public, I am always happy because it feels like a great celebration of music. In that moment, I am sharing with the audience not only what I want to express, but also what the composer wished to communicate. For me, that is truly wonderful.

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