When he was about 12 years old, Giorgi Gigashvili discovered the Argentinian pianist Martha Argerich. A young pianist himself, Gigashvili had recently realized that he wanted classical music “to be a part of my life” and when he came across a YouTube video of Argerich performing the Piano Concerto No. 3 by Prokofiev, “I fell in love with both pieces and Martha Argerich,” he says.
Argerich became an idol for the aspiring Georgian musician — and, just a few years later, they crossed paths under auspicious circumstances. In 2019, the then 18-year-old Gigashvili won a piano competition in Spain and got to meet the head of the jury: Argerich. “That was the moment I really believed that what I was doing was the right choice,” he says.
This is the life of one of the most remarkable rising talents of the world classical music community. Now, at 24, Gigashvili has already amassed a long list of achievements: performing at a sold-out Carnegie Hall in New York, among the 2023 winners of the world-renowned Arthur Rubinstein International Piano Master Competition in Israel, winning the artist-in-residence honor at the 2024 Beethovenfest in Germany and more.
But it should be noted that Gigashvili did not limit himself to the genre where he first made his name. Instead, he has incorporated pop, electronic and experimental music, because he believes that each musical genre has a unique charm — and that none of them should be underestimated.
Gigashvili's eclectic taste dates back to his childhood. Long before he was playing sold-out concert halls and garnering accolades, Gigashvili's mother and aunt nurtured his love for classical music. “Classical music was always playing in our house, on vinyl or on the radio,” he recalls. “The sound of this genre and the works of great composers became part of my memory. We had an old piano at home and from a young age I was drawn to touch its keys. I liked the sound of it.” At the age of 6, he started attending lessons. “For many children, learning classical music can be a stressful process,” he says, “but for me it was a source of great joy.”
But, at the same time, he developed an interest in other genres of music – and the 2006 musical film Dreamgirls was a major catalyst. An older friend gave him a copy of the film, which he says he watched “several times a day.”
“The music in it was very different from classical music, but it made a huge impression on me,” he says. “Here begins the period when my love for music and my interest in it was no longer defined by genre. The idea that classical music is isolated and the love of it excludes the love of other genres is a snobbish approach and has nothing to do with understanding the phenomenon of music. I think it is a mistake to think that there is no other serious genre besides classical music. I don't divide music into serious and non-serious genres. Each genre, for me, is serious and unique.”
In turn, despite his recognition in the classical world, Gigashvili has also ventured into other genres. He has drawn from pop, electronic and other modern styles in his recurring collaborations with young Georgian artist Nini Nutsubidze, which include modern renditions of retro Georgian songs – nostalgic for older generations and an engaging way to introduce younger audiences to the culture's musical heritage their. Listeners of all ages have been drawn to the recordings.
At Beethovenfest, Gigashvili performed with Nutsubidze, where they delivered a unique blend of classical, folk, electronic, pop, hip-hop and Georgian retro music. “The fact that I, as a classical performer and pianist, am involved in creative, contemporary experimental projects makes it even more interesting for Western audiences,” he says. “Global audiences today are more curious and interested in experimental approaches.”
Gigashvili says the creative process differs in each genre — but that those differences are what make his work interesting and diverse. “When you play classical music, the opportunities for interpretation are more limited,” he says, explaining that because classical performers “can't take away or add notes,” the genre relies on more subtle differences in aspects like 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 it comes to performing contemporary music and I'm at the keyboard, I'm completely free. I don't need to add my personal signature to specific pieces because I'm already the author. These two experiences together create Giorgi Gigashvili.”
Meanwhile, as Gigashvili's platform grew, he used it to promote causes beyond music. Gigashvili is one of those artists who stands out for his active political position. With Georgia's relationship with the European Union at a crossroads, Gigashvili spoke out for the country's European future and protested injustice.
“When I express an opinion on social issues, first and foremost, I'm a citizen, not an artist,” he says. “This is my prime condition. Even the day I stop playing, I will speak up and express my position. Today, when Georgia's European future is at stake, I believe it is the duty of every citizen to clearly express his political position. This is especially their responsibility if they have a large audience and the right platform. If someone doesn't have a correct political position, for me, their art, including music, loses its value.”
As Gigashvili looks ahead to a busy 2025 — he embarks on a tour of America, Asia and Europe in January, and will soon begin recording his second album, which will include Piano Sonatas Nos. 6, 7 and 8 by Prokofiev — it is music's utility as a tool of inspiration that continues to motivate him.
“Once, after a concert, an audience member came up to me and said, 'It seemed like I'd forgotten that I had feelings, but today, this music made me remember that I'm human,'” he recalls. “I will never forget that comment. If a show can make you cry, laugh, feel sad, happy, or even angry, it's real. For me, this is the purpose of music.”