From the Forest to the Stage: A Conversation with Gabriel Berdichevsky on Nature, Memory, and the Path to a Life in Music

PRM: “Every pianist has a unique story of how they first fell in love with the instrument. Could you share a bit about your musical journey? What first drew you to the piano, and who or what has been the most significant influence on your development as an artist?”

I grew up in a family of musicians. Both of my parents play the piano, as did some of my grandparents, and one of my ancestors was an opera singer who worked with Francis Poulenc. Music was therefore a very natural part of my childhood. I grew up listening to my parents play, and they were the ones who first taught me the foundations of the piano.

For many years, I developed largely as a self-taught musician, before later refining my technique with a concert pianist prior to moving to Paris in 2020.

After arriving in Paris, I began performing occasionally in piano bars, which gave me valuable experience and helped me grow more confident as a performer. Then, this spring, I had the opportunity to perform at the Piano Revenge Festival in Paris – a truly beautiful experience, and an important step forward in my artistic journey.  


PRM: “Your work as a pianist and composer is deeply personal. Could you tell us about the artistic journey behind the pieces you will be performing at Piano Revenge Days? What emotions or stories are you hoping to share with the audience through your piano art?” 

Like many pianists, I began by studying the great classical composers – Frédéric Chopin, Ludwig van Beethoven, Franz Schubert, and others. Over time, I became increasingly drawn to more modern voices – composers with a different emotional language and atmosphere, such as Gustav Mahler, César Franck, and Claude Debussy.

At the same time, I moved into a house in the countryside, right at the edge of a forest. Sometimes roe deer wander into the garden, and I found myself deeply inspired by the work of John Steinbeck. The way he writes about nature, together with the atmosphere of this beautiful place, has had a profound influence on me.

Through my music, I wanted to capture that quiet, deeply moving feeling of being surrounded by a nature we can never fully understand, yet which has the power to transport and soothe us. In some way, I think I was searching for that same sense of stillness and emotional depth that I hear in Mahler’s music – those restrained, intimate chords that seem to hold an entire world within them.


PRM: “Piano Revenge Festival is a unique, hundred percent independent event that brings together artists and audiences in intimate, rare and beautiful settings. What drew you to this project? What do you find special about being part of a festival where the focus is purely on art, community, and the love of piano music?” 

Independent festivals like these offer a beautiful opportunity for young artists to take their first steps into the world of professional music. When you are just beginning, that world can feel almost unreachable, but an intimate festival such as this makes it tangible and real.

It gives emerging musicians the chance to share the stage with other artists, to perform in front of an audience, and to truly experience what it means to live as a musician. In many ways, it becomes a gateway into a genuine artistic life.


PRM: “Vienna is a city with an unparalleled musical legacy – from Mozart and Beethoven to the modern avant-garde. What does performing in the heart of the Innere Stadt, just steps from the Hofburg Palace, mean to you personally? How does the spirit of Vienna influence your music or your approach to this performance?”

I first visited Vienna two years ago with my family, and the city completely captivated me with its beauty, elegance, and of course its deep musical presence – something you can feel everywhere.

In some ways, it reminded me of Paris, but with a more intimate and peaceful atmosphere. During that trip, I attended many wonderful concerts, and the thought that I will now have the opportunity to perform there myself feels incredibly moving.

To play in Vienna feels almost like traveling back in time – returning to the very roots of classical music.


PRM: “Looking beyond this October, what are the dreams or projects that are currently inspiring you? Is there a particular composition you hope to complete, a collaboration you are dreaming of, or a musical boundary you are eager to explore next?”

Performing at the festival in April, and now preparing for this new one in October, has strengthened my desire to move closer towards a professional life in music – to perform on stage more regularly and to build a real connection with audiences.

I have even started discovering places in Paris where I could organize small concerts myself. It began as a simple idea, but it has slowly grown into something much more meaningful in my mind.

For now, I would love to focus on solo performances – just myself and the piano. But in a few years’ time, I dream of performing alongside several violinists and a cellist, bringing orchestral works to life on stage in a more intimate setting.

That would truly feel like a dream come true.