In a sort of “inner portrait”, the Cinque aforismi light up and focus on some of the most common emotinal aspects of man. Each aforism lives of its own life and is divided in a tripartite form, loaded with inner memory. Man is mirrored in the false dualism of the instruments, which reflect one silhouette only, alone with itself. The pages relive in a constant turning back which, alternating through joy and pain, is achieved in the “mirror” use of instruments and tonalities.
Among the tiles of an ancient mosaic of dances, the “narrating voice” of the saxophone begins its tale. This is constantly changing and has multiple colours whose irridescence still amazes. The triple harmonic structure (diatonic tonal, chromatic tonal, modal) of the dances give the protagonist an equally varied timbre, richness that seems to want to imitate his closest family members. The Prelude opens the dances in a dense network of exchanges with the past (Rossini, La Cenerentola) and quickly leaves room for the dimension of the fairy tale which finds its maximum expression in the subsequent movement Danza and Saltarello, where melodiousness and rhythm are clearly contrasted. Tarantella represents the pinnacle of instrumental virtuosity and of the rhythmic component. From it, the Finale as a “dance of dances” is born without interruption.
Diàbel (demon) approaches the Suite fiabesque for its rhythmic character and its own dance nature. The wide use of irregular meters invests the footsteps of a dancing demon with disorder and chaos, who is embodied in the piano struck with strength and nervousness and in an alto saxophone which, in addition to its virtuosic abilities, reveals its darkest voice and, bar after bar, he accompanies us sinking into hellish places. The Largo spettrale constitutes a momentary suspension of that inclined plane that will lead to Presto ostinato, the last whirling choreography of the underground pronist, before his final bow.
Aldo Maria Zangheri: He was born in Rimini (Italy) in 1973, studied with Adriano Bertozzi at the Lettimi Institute in his town, in 1994 he achieved his Diploma from the Conservatory of Pesaro and in 1995 graduated in Statistics in Bologna. After that, he perfected, among others, with D. Rossi and Y.Bashmet. In 1990, at the age of 17, he became first viola in the San Marino Symphonic Orchestra and since then he has covered that role also in all chamber ensembles of the same orchestra. Since 1997 he has often collaborated as first viola with the Marchigiana Philharmonic Orchestra. For many years he has been first viola of the Rossini Symphony Orchestra of Pesaro and of the city of Ravenna Orchestra. He has also collaborated as first viola with the youth orchestra of Vicenza, the chamber ensemble Aikoros of Bologna, the chamber orchestra "B. Marcello" of Teramo, the Collegium Symphonium veneto, the Rome open city orchestra, the Guido d'Arezzo orchestra and the Etno Jazz Pan Orchestra. He has also performed with the Philharmonic orchestra of Turin, the Emilia Romagna symphonic orchestra "Toscanini", with the Toscanini philharmonic orchestra and with the Cherubini orchestra. He has been conducted by prestigious musicians such as Lorin Maazel, Riccardo Muti, Luciano Berio, Gustav Kuhn, Peter Maag and has accompanied soloists such as Luciano Pavarotti, Salvatore Accardo, Misha Maisky, Sergey Krilov, performing concerts throughout Italy, in many cities of Europe, South America and the Middle and Far East. He has played for Pope John Paul II and Pope Francis, for the Presidents of the Republic Oscar Luigi Scalfaro, Carlo Azeglio Ciampi and Giorgio Napolitano and for many other important Italian institutions. He plays a 1989 Mario Capicchioni viola.
Michele Paolino: He received his graduation cum Laude at the “U. Giordano” Conservatory of Foggia in 2011, at the age of 21, under the guide of M° Gabriele Buschi. During his studies, he participated to many musical competition which gave him 15 first prices in Chamber Music categories. After this period, he collected cum Laude the Master Degree at “G. Rossini” Conservatory in Pesaro, with international soloist M° Federico Mondelci; this meeting allowed him to start collaboration with many international performers. The great quality as interpreter has been acknowledged and underlined by important Orchestras that engaged him in many projects far from Chamber Music: in 2013 on stage with FORM (Regional Orchestra of Marche) for the “Blue Rhapsody” production; in 2018 with the prestigious Orchestra del Teatro alla Scala, during the “Mahler 10 – Petite Mort – Boléro” production, scheduled on the Ballet Season. Nowadays he continues his career as soloist and chamber musician, especially as member of the Italian Saxophone Quartet, performing for the most important Concert Seasons all over the world (USA, Russia, Austria, France, Germany, UAE, China) and of the Histérico Duo, together with the guitarist Davide Di Ienno, collecting success in the whole Italian Country due to an original and refined repertoire. Meanwhile, he’s involved in musical activities as transcriptions and arrangements for many kind of groups. His works are routinely presented in records and international concerts.
Roberta Pandolfi: She completed a Master of Arts in Piano Performance and graduated with Honors in the class of Maestro Giovanni Valentini at Conservatoire “G.Rossini” in Pesaro.
She specialized several years with Maestro Enrico Pace at the International Piano Academy in Imola and at the Accademia di Pinerolo, where she currently attends a post graduate course in contemporary music with Emanuele Arciuli, Nicholas Hodges, Massimiliano Damerini and Pierre-Laurent Aimard.
She has been prize winner at many international competitions as a soloist or in chamber music ensembles for the last 10 years.
She constantly performs in Italy at international music festivals such as Auditorium RAI Toscanini, Bologna Festival, Bologna Modern, Festival dei Due Mondi, and outside of Italy, especially in Berlin, Wien, Orléans, and Jeju Island, playing as well with orchestras (Orchestra Filarmonica Marchigiana, Orchestra Sinfonica Rossini, Wunderkammer Orchestra, EuroSinfonietta Wien, Orchestra Olimpia, Orchestra Santa Maria del Suffragio). In 2019, together with conductor Francesca Perrotta, she established Orchestra Olimpia, a symphonic female orchestra, promoting gender equality and human rights.
Danilo Comitini: He was born in the United Kingdom in 1986. He has studied in Italy with Alessandro Solbiati (Giuseppe Verdi Conservatory, Milan) and Ivan Fedele (Accademia di Santa Cecilia, Rome). His opera The spectacles, based on a novel by E. A. Poe, was staged at the Teatro Rossini of Pesaro in 2017.
He is winner of numerous international competitions and, as a result, he has performed in music Seasons, contemporary and non, both in Italy and abroad. In his own music, he searches for a message beyond sound. His compositions are polyhedral works which seek a perceptive interest in sound, gesture, form and
in a narrative aspect that gives music a means to describe an inner transformation. Beethoven himself, starting from the Fifth (but maybe even before), gives life to a concept of music loaded with a meaning "beyond" itself and carries a message. For Comitini, this is perhaps the most stimulating aspect of the narrative side of music, which is not necessarily telling a story or referring to something extra-musical. That is the most belittling aspect of music because it gives a value wich is not absolute. It is by "entrusting" music with a message and by letting it carry us from one vision (about the world and life) to another, as extremes of a dramaturgical vector, that music can achieve its best results. Thus, each piece is a new journey full of discoveries. According to the composer, this is one of the possible ways to write (but also to listen to) music. Especially in the artistic field, history has taught us that it is not the choice of one ideology or another, or this or that style, that can lead us to beauty. Even the most different ideologies are different ways of telling more or less the same concepts and the same emotions inherent in humankind. Comitini is not often interested in a kind of art that avoids expressing the human being, who is life: birth, growth and change, death. A path forward, therefore, which for the composer's way of "feeling" can be deeply expressed by the dramaturgical force of music, a direction in which the audience can also recognize and orient themselves.