Italian composer Bruno Bavota’s music went through a self-imposed creative transformation throughout the years. His honest and emotional pieces, often compared to the work of Ludovico Einaudi, evolved from crystal clear piano to more meditative and abstract music. “Eventually all the time spent at the piano day after day changed my idea of the piano itself”, Bavota explained, “I started to see the piano like a living instrument.”

With 2019’s ‘Get Lost’, Bavota blends Einaudi’s immersive minimalism with the almost fairytale-like themes of Yann Tiersen and an electronic touch reminiscent of Nils Frahm. Heavily streamed playlists and high-profile TV-placements have allowed Bavota to join the mostly anonymous world of composers with huge audiences, like Joep Beving and Wouter Dewit.

On ‘Get Lost’, Bavota takes a step back from his obsession with his piano’s sound, to discover the sounds around the instrument. The sound of a piece is now dictated by resonance, silence and the acoustic characteristics of the room. Bavota uses plenty of effects and processors, not just to to catch sounds but to sample and loop them, and give them a major place in the composition. This way, his pieces truly come to life in the space in which they are played, with the audience as part of the music. In January, Bavota plays the important showcase festival ESNS. Following that, you can catch him at the Ryelandtzaal for what promises to be a unique concert.