Voices 05/11/2012

Something I learned


It is too easy to be creative making real or imaginary paninis full of different tastes. I always liked the taste of the bread and of each one of the ingredients. That’s the reason why I always respected them, keeping them simple and learning how to distinguish the different moments of the life and the different pleasures it can offer.

A sandwich is a sandwich, awesome and fragrant, but the high cuisine is something else.
To create you need school, a lot of practice and high principles; simplicity, indeed. For me the most important thing is the idea that the matter is shape, i.e. that the food appearance is an anticipation of the essence of the dish, of his shape, of the language of a recipe and of the taste of the food per se.
In the old times, great restaurants went together with high level hotel. That was a right thing since only the great hospitality allows high level investments. By the way, only by working in the kitchens of great chefs it is possible to learn that skills that make the difference between a good eating house and high cuisine. I never go down, I go up.

Japanese people

It would be enough to have a look with different eyes. To look at what Japanese people do. Sushi, sashimi, tempura: to work hard and very well to get a complete mastery of techniques and gestures, a very high and honorable target.

But that is the starting point. Then, only a small number of chefs will be able to face the kaiseki menu, the most important one, that requires spending the knowledge got in a whole life and all his skills.
For me, our parallel case is the tasting menu. Hence, the creative is the highest among of the wise men, since it is able to soft the intransigence and the severity.

The Porsche, the Beetle and Massimo Mila

When you enter a concert hall you are in a special predisposition of the spirit. The same should happen for the high cuisine. In both the cases the deep desire is to feel an emotion, to add a new cultural experience to our life and to grow up, refining our sensitivity.

The author cuisine can astonish and, perhaps, can make dumbfounded in the first moment. I’m thinking for instance at the effect on the audience of the first performances of Schonberg.

The author Marchesi never tried to make dumbfounded anyone. No revelation of sound as in Schonberg; I just look for the tastes that nourished me; I work with the matter and the memory, using what the market and nature can offer. If I astonish someone is always in simplicity. I don’t look for strange tastes; I just want to renew some dishes.

The Porsche and the Beetle were born modern and traditional at the same time and it is right to renew them with dedication.
At the regard of high cuisine I remember what Massimo Mila was used to say about music: Music is not just notes, but it is time and memory.

di Gualtiero Marchesi