Compositions

Some, not requested (but, in the end, not groundless), aesthetic statements

What does it mean composing today? What is my role as a composer in modern society? What are my means of expression (if any)? What is the meaning of this strange and unproductive (for our contemporary standards) act? Do we need more music?

As a composer I am facing these (and other) questions each time I decide-desire-need to write something. Unfortunately the “productive” contemporary attitude towards each aspect of life has reached also the so called research music. Effectiveness, speed, precision, quantity and quality of output: most of the times these are the dogmas of many current composers. Write more, better, faster for all sort of ensembles, in every form. The result is evident: today composers grow up in (almost full) classrooms, develop in (almost empty) concert venues, earn their living teaching in (almost empty at the beginning, then quite full) classroom. Contemporary music has become more academic than ever: it has no impact on society. But no impact on society means no cultural content. Music, as a product, does not provoke anything and it is perfectly functional to neo-liberalism (even if confined in its dedicated rituals). Composers have their own (huge) responsibility.

Do we really need this system?

I am unease with this it and I do not have a simple answer (do you?). I would like to leave (good) open questions than the nth “good amount of good music”.

My interests focuses on: semantics, style, concepts behind music and practice.

For the aficionados biographer (if any): I graduated in electronic music at the Padova Conservatory Cesare Pollini with Nicola Bernardini (cum laude) in 2004. I presented some of my works in some italian and french festivals.

List of compositions

(all pieces are licensed under a Creative Commons licence)

  • Deconstruction 4 bis: Brahms (2013-2020) for doublebass (to Marine Clermont) [dur. 8 min.]
  • Deconstruction 2 bis: Perotin (2007-2018) for b flat clarinet and accordion [dur. 5 min.]
  • Partir (2017-2018) for four violas, piano and noise (to Yaël Ménassé-Thlang) [dur. 6 min.]
  • Deconstruction 4: Brahms (2013-2017) for bass clarinet (to Heather Roche) [dur. 7 min.]
  • Prétextes (2014) for 1 up to 4 voices [dur. 20 min.]
  • Counterpoint 1 (2014) for sheet paper and plastic bag [dur. 5 min.]
  • Hommage à Bruno M. (2013) electronic music (soundcloud, youtube) [dur. 6 min.]
  • The dog (2001-2012) for three female voices, one male voice and light source [dur. 45 min.]
  • Deconstruction 3: Bach (2011 – 2013) for tenor sax and piano [dur. 5 min.]
  • A little pocket phenomenology (2007 – in preparation) for sax quartet [dur. 10 min.]
  • Deconstruction 2.A: Perotin (2007- in preparation) for oboe, english horn, heckelphon [dur. 5 min.]
  • Cori di Burchiello (2009 – 2010) for choir (lang. italian) [dur. 7 min.]
  • Metamorphosis 2 (2009) for string quartet [dur. 4 min.]
  • Metamorphosis 1 (2009) for wind quintet [dur. 4 min.]
  • Five easy chorales (2009) for choir (lang. french) [dur. 5 min.]
  • Birth of a melody (2008-2013) for viola and soprano [dur. 5 min.]
  • Symphony (2008) for three oscillators, [dur. 1 min.]
  • Deconstruction 1: Chopin (2005-2006) for vibraphone, clarinet, horn and double bass [dur. 3 min.]