Discography
Album delle Nove Lune
2015 | for Piano
This is my last Piano experience, both in compositional (music dedicated to the Piano) and in interpretation terms.
I am very attached to this collection of pieces of which refer to phenomena of my overall musical experience.
Elements belonging to composers and musicians dear to my training, classic and contemporary, re-imagined and filtered by my sensibility are touched here.
A work to be listened to therefore.
ALTE ZEIT
1999 | for Piano
Alte Zeit is the further definition of an “open” works. Initially it was conceived as an ideal continuation of the third part of Island Version. Then, later, it just developed on its own.
It’s undeniable, however, that the path of composition, merging into a single idea: a “work in progress” evolving, which began in 1996 and is still undergoing further and continuous development.
ATLANTE MARINO
2004-2005 | Opera
Another composition born from the collaboration between Giorgio Tosi (composer of the music) with Renzo Franzini (songwriter). The narrative voices are Marco Morellini and Francesca Stimme (a condensation of several voices). This is a representation of three scenes: Atlante Marino is taken from the poem acque, the second part of a trilogy that begins with the lights and ends with the book of the heavenly homes. As an opera, the part taken from the poem was taken by the hand and happily made to lose weight
2006 | for Piano
It’s an unexpected invasion. The title character is shaped in relation to the music, fast, nervous, aggressive, written expressly for the conclusion. In this composition is highlighted the “gesture”, to be understood as an momentum in its voluntary intrusiveness. Blitz, because of its characteristics mentioned above, also wants to be a tribute to the great composer Robert Schumann.
COMPUTER MUSIC VOL.1
2007 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
COMPUTER MUSIC VOL.2
2007 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
COMPUTER MUSIC VOL.3
2009 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
COMPUTER MUSIC VOL.4
2010 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
COMPUTER MUSIC VOL.5
2011 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
COMPUTER MUSIC VOL.6
2011 | 3 pieces for electronic music
Cycle of works dedicated to electronic music. It is music applied to the image, specifically composed to support visual suggestions such as painting exhibitions, installations, screenings filmography, events that require a particular and proper cyclical and iterative musical placement.
Volumes 1, 2 and 3 were contained in an exclusive box set of 3 CDs available in a limited edition (9.90 € +2 € shipping). From 2012 available also the volumes 4,5,6.
DAS NAMENLOSE
2014 | electronic music
The nameless, a metaphor for the unknown man. Also in this case, the experience lived in producing the six volumes of Computer Music has given rise to an offshoot, always in the use of technical-expressive elements attributable to both acoustic and electronic use.
Il luogo degli eventi sconosciuti hosts Das namenlose which, in literature, has influenced many writers and directors: see Herzog with his movie; The enigma of Kaspar Hauser.
A journey therefore dedicated to the search for oneself and music, once again, becomes the protagonist.
Due della notte
1992 | for piano
The two pieces composed in 1992 mark an important point in my compositional journey. In fact, they find themselves witnessing my stylistic passage and more, from what was my musical thought before, more inclined to the use of colors (see compositions such as: Improvviso, Blu and the two Notturni) to a more personal musical vision.
The first of the two pieces brings with it an intense competitive energy, with manifest pride. The second, more evocative, unfolds its more expressive and dreamy nature.
FLASH BACK
2007 | for piano
There are five retrospective pieces, just in the idea of course, aiming to provide snapshots of life already lived, in the sense of film. There are references to some of the great composers of the past (not in a nostalgic form). It seeks to return to the spirit of The Book of broken tales, there are sometimes very similar traits, especially as regards the freshness and joy of invention. The fourth piece seems Bach subjected to “grainy”, from the homonym practice of synthesis, the second live images of ancestral land in Wagner. The fifth, very slow and almost timeless, is reconciled with the world.
FLÜCHTIG IST DIE ZEIT
2008 | for piano
The composition was suggested to the author by this poem by Gleim Johann Wilhelm Ludwig entitled An Leukon (Omaggio ad Alban Berg): Cogli le rose, le rose fioriscono / Domani non è oggi! / Che neppure un’ora ti sfugga. / Fuggevole è il tempo! / Bevi, bacia! Oggi / E’ l’occasione. / Sai tu dove sarai domani? / Fuggevole è il tempo! / Già spesso ha rimorso / Il rinvio di una buona azione. / Vivere prontamente è il mio consiglio. / Fuggevole è il tempo!
IL SOGNO DI MADELINE
2000-2003 | Opera: Female voice, Male voice and 7 instruments (clarinet, electronic keyboard, piano, string quartet) + electronics
Three pictures extracted from the overall work, loosely based on a story by EA Poe ‘The Fall of the House of Usher’. The ensemble includes voices, acoustic instruments and electronics.
Considerations:
The overall representation of the work includes (on stage) two parallel readings. The first carried a puppet show with the characters: Madeline, Roderick and the Guest. The second with personages in a projective sense, portrayed by the two singers on the scene
Personages:
Madeline Usher, female voice
Roderick Usher, male voice
The guest, narrative voice
LE LUCI
1996 | Opera: Narrators and electronic music
The composition was born from the collaboration of Giorgio Tosi (composer of the music) with Renzo Franzini (songwriter). The narrator is Marco Morellini. It is music of thin bill, which seems to creep in with an almost poetic texture of native spaces, in a report that could be called osmotic, due to the flexibility with which mentions, he stresses, but sometimes breaks and then turn the allusive comment or vortex in more visionary to suggest that the infinite spaces via e seems to show in his evocative slide. An exciting journey of memory from which emerges a deceased friend in search of his body
LIED DER ZEIT
2014 | for piano
An Leukon (Omaggio ad Alban Berg)
Cogli le rose, le rose fioriscono,
Domani non è oggi!
Che neppure un’ora ti sfugga.
Fuggevole è il tempo!
Bevi, bacia! Oggi
E’ l’occasione.
Sai tu dove sarai domani?
Fuggevole è il tempo!
Già spesso ha rimorso
Il rinvio di una buona azione.
Vivere prontamente è il mio consiglio.
Fuggevole è il tempo!
Gleim, Johann Wilhelm Ludwig
TRIEL
2012| for piano
In Triel I returned to a ternary articulation of the pieces, as was the case with “In the bowl of night”. The three pieces are in a relationship of formal balance with each other: the first is determined and intrusive, the second is calm and dreamy and the third is determined and stubborn with a lot of character.
The tripartition of one or more compositionals ideas inevitably takes us back to the past, to a vision of formal perfection pursued and practiced with determination by many composers (see Sonata and the forms derived from it).
Triel leads back to my other piano compositions and here, the game seems to get really interesting in discovering fragments of memory, scattered in my copious piano production.
Movimento Verso un Tempo Che Ritorna
1995 | for piano and orchestra
Movimento Verso un Tempo Che Ritorna draws ideas and suggestions from major presence in the recent past and as the title says, the creation of a continuity between past, present and future. The concert is not divided into several stages as in classical practice, but is articulated in a single development: A deep breath of which the willing listener, among the countless episodes and transitions, can find the very idea of a varied tripartite. The work involves some light areas entrusted to the piano improvisation, supported by electronic tone, establishing an early stage an intimate search, sometimes the “outer”, developing the musical principle always a variational sense. The concert is dedicated to Camillo Togni.
NELL’ORA DEL SERENO SAPERE
1995 | for piano
It’s a forgotten piece, this seems to be its destiny within my piano music production.
It originated in 1995, on the occasion of an anniversary very dear to me and, since then it has had no further executions except the one impressed on this CD.
The composition translates into desire for the affirmation of healthy inner principles, which are also manifested with leaps, devoid of dramatic content, aimed, if anything, towards a tranquility in the most authentic and personal sense.
PRELUDI I / MYEIN
2007| for piano
Compositions for piano. The complete cycle consists of 12 preludes divided into two volumes. Follow a logical differentiation of the songs, as characterized in the literature of classical music, from Chopin to Debussy to cite two prominent examples, from the freshness of invention and “freedom” in the choice of provision and the overall formal conception.
Mysterion
2012| for piano
Mysterion, brings with it a particular insistence on the authentic Gregorian mode (Misolidius), transposed in B with the relative Finalis.
The piece is measured with the melodic major scale and the whole is manifested in a coexistence between: sensible modal and sensible tonal.
The composition could give rise to a minimalist interpretation, in reality, the objective on which the aesthetic-formal interest is focused is not in this direction. Rather a search for a type of essence, an illusory reality, hence the title intended certainly not with a disturbing meaning but, simply, to find an attitude towards a serene and resigned introspection.
The passage is divided into three parts, of which the third and last requires space for a more mystical tranquillity.
LUCI OLTRE CONFINE
2015 | Electronic music
Luci oltre confine brought me back to an acoustic-electronic dimension, already dealt with extensively in the previous six volumes of: Computer Music. The center of this work is inextricably linked to the first piece; Dentro i sogni dell’acqua che dorme.
The use of the Rhodes Piano gives a dreamy imprint, in perfect symbiosis with the electronic events, which accompany, forming a sought-after synthesis on “lightness”, see the title itself.
The origin of the work is to be found in the last line of a poem by Charles d’Orléans, transformed by Debussy into the Trois Chansons de France.
PRELUDI Vol. 1 e 2
2009-2010 | for piano
Compositions for piano. The complete cycle consists of 12 Preludes: 1 – 6 Vol.1 and 7 – 12 Vol. 2.
They follow a logical differentiation of the pieces, characterizing as in classical musical literature, from Chopin to Debussy to cite a feaw illustrious examples, from freshness to invention and “freedom” in the choice of layout and in the formal conception in general.
Take all my loves
2012 | for piano
Take all my loves, is the expression of a rediscovered desire, that of resuming the composition of a wide-ranging musical thought, as it was for the “Variante Island 1-2-3”.
The idea of not being able to express, even in this case, a musical concept except in the form of large episodes which refer to themselves, in their concatenation, the variation principle.
The variation here becomes the main vehicle supporting the entire musical work.
Suggestion of the title is taken from a sonnet by Shakespeare. For further explanations see: Varianti 1-2-3.
TEASING YOU / OUT OF BREATH
2009 | for piano
Teasing You and Out of Breath come from previous piano experiences and in particular the composition: Flüchtig ist die Zeit and they continue in the distinctive character and in the constructive dimension. Broader the first and, the second, intimate and apprehensive. Trace areas and share similar emotional experience, expressive intensity, while two companions to become perfect in varied musical accompanist.
The Book of Broken Tales
1991 | for piano
The Book of Broken Tales consists of twenty-one short pages that make up a world of exquisite inlaid sound and musical daring thoughts, expressed most strongly, therefore seems to be betraying a sense of freedom gained. Nor is it difficult to find in these 21 pieces the same reasons that the artist is from several years distilling the piano keyboard: And maybe the same period a reason, it is improper with respect to a type of erratic imaginative gloss while in the premises, then finds his secret life in amazement the sound.
Preludio all’Aurora
2012| for piano
Preludio all’Aurora is inspired by a concert I gave in April 2012, which had the title: “Preludi all’Aurora”, with the execution of the two volumes of Preludes for piano.
The composition has similarities with a piece of mine for piano written in 2008:”Flüchtig ist die Zeit”.
The two compositions have in common the insertion of a song (Lied) as a structural component which, in the case of “Flüchtig ist die Zeit” is the “Lied der Zeit” as the last offshoot of the composition. In Preludio all’Aurora the Lied is inserted within the piece, – the composition within the composition – so it could be defined.
THE OTHER SEVEN
2013| for piano
The other seven, tiptoe, such is the definition of these little concise, aphoristic, sometimes borderline audible pieces, conceived immediately after the great spans of: “Take all my loves”.
These seven miniatures are placed in the opposite region to the large formal articulations and, not by chance, they arise precisely from the saturation due to them, almost a desire to dematerialize what a few days before was pre-eminent, the opposite feeling, precisely that of the “Open form”, in becoming.
VARIANTE ISLAND Part.1
1996| for piano
Compositions for solo piano. The variant Island is divided into three movements. The three parties belong to a single project, a piano composition of great breadth and depth. The variant is its geography in “Island”, Island of thought where ideas make drawings charmers, preferential areas in which still find traces of what now seems hopelessly lost as poetry, art, etc… Island(s), as a geographical pattern, a concept to define the “place” where our precious thoughts can be placed and stay safe in a suspended geography.
VARIANTE ISLAND Part.2
1997| for piano
Compositions for solo piano. The variant Island is divided into three movements. The three parties belong to a single project, a piano composition of great breadth and depth. The variant is its geography in “Island”, Island of thought where ideas make drawings charmers, preferential areas in which still find traces of what now seems hopelessly lost as poetry, art, etc… Island(s), as a geographical pattern, a concept to define the “place” where our precious thoughts can be placed and stay safe in a suspended geography.
VARIANTE ISLAND Part.3
2001| for piano
Compositions for solo piano. The variant Island is divided into three movements. The three parties belong to a single project, a piano composition of great breadth and depth. The variant is its geography in “Island”, Island of thought where ideas make drawings charmers, preferential areas in which still find traces of what now seems hopelessly lost as poetry, art, etc… Island(s), as a geographical pattern, a concept to define the “place” where our precious thoughts can be placed and stay safe in a suspended geography.