The reference to historical forms or past styles, even when reinterpreted from a personal perspective, is not intended to convey a conservative stance. I simply believe that compositional technique and language are expressive tools, rather than ends in themselves. The main aim of my musical work is not to propose a new system; rather, through my pieces, I endeavour to tell musical stories in the most compelling and engaging manner possible, which generally entails characters (the themes) and plot development (motivic-thematic elaboration). Communication is essential, and for it to succeed, comprehensibility is crucial. At times, a composer’s focus may lean towards innovation, while on other occasions it may centre on further exploring existing ideas. Historical forms—and the harmonic languages they embrace—are, in my view, archetypes from which it is difficult to detach oneself fully, without risking incomprehensibility.
Harmony, as it typically appears in my pieces, is in constant pursuit of points of arrival and rest; yet, these prove ultimately elusive, more a state of yearning than a tangible reality. Some might argue that while in classical harmony the tonal centre is almost always plainly evident (the tonic), and in twelve-tone harmony the series dictates all pitches—thus partly suppressing the individuality of each sound—within the harmonic sphere that I favour, sounds continually exchange roles and centrality in a more ‘democratic’ manner: to draw an analogy with political systems, one might speak of democracy versus monocracy or totalitarian rule.
Melody, one of the fundamental parameters of music (alongside harmony, timbre, rhythm, and textural writing), has often been neglected—or nearly overlooked—across much of the music composed in the second half of the twentieth century. Nevertheless, I view it as a vital element; I seek it out and nurture it. In my opinion, it remains pivotal to music (though naturally not in every single piece). Consider, for instance, when a composer seeks to express strong emotion or sorrow: in such a case, song and melody—both of which have served as spontaneous manifestations of human feeling since antiquity—offer the most direct and, quite possibly, most authentic channel for articulating one’s inner sentiments, flowing straight from the depths of the soul.
I appreciate roots, continuity, and dialogue with the great composers of the past more than rupture, which all too often conceals a profound narcissism (incidentally, I have also begun composing works inspired by Greek myths). I find the so-called ‘international style’—in both architecture and music—rather depressing, when buildings and compositions present themselves identically the world over. If my music were ever deemed too melodic, I would consider that high praise. For someone who loves Vivaldi and Verdi, it would be a mark of honour. I follow my own path; if it proves appealing, I shall be delighted; if not, I shall at least have remained true to myself.
12 études
A homage to the great tradition of piano studies, this collection addresses various technical and interpretative challenges: agility of both hands, arpeggios, hand crossing, octaves, the fusion of lightness with cantabile style, staccato, measured trills, semi-polyphonic textures, and, of course, expression and poetic nuance.
The first Étude features an unremitting flow of semiquavers, whereas the second Étude presents a melody embellished by triplets in the right hand. The third Étude inverts this distribution, placing the triplets in the left hand and the melody in the right. The fourth Étude is distinguished by its asymmetrical Bulgarian rhythm. The fifth offers a more expressive, serene, and lyrical mood, focusing on cantabile writing. The sixth delves into agility within small intervals, while the right hand simultaneously carries both the melody and a triplet accompaniment. In the seventh Étude, the melody begins in the left hand before migrating to the right, decorated by four-note semiquaver figures. The eighth, somewhat playful, serves as a study in staccato. In the ninth, a slow melody develops steadily towards a climax, adorned by measured trills. The tenth Étude features numerous legato and staccato arpeggios. The eleventh is the most introspective and polyphonic, whereas the twelfth is perhaps the most extroverted piece in the series.
The Antiques Shop (La bottega dell’antiquario)
1. Il carillon 2. An Old Postcard 3. The Rocking Chair
These three works take their cue from objects one might encounter in an antiquarian’s shop (a carillon, an old postcard, and a rocking chair). Such items evoke a host of themes and musical ideas, rhythms, textures, expressive atmospheres, and emotions. In the first piece, a gentle melody recurs multiple times, with the mechanism seeming to slow slightly at the conclusion. In the second, the sight of an old postcard inspires melancholy lines. The third piece is characterised by gently rocking figures.
Appunti Di Viaggio (Travel Notes)
The three piano suites entitled Appunti di viaggio (Travel Notes) function as a repository for various experiences and inquiries related to musical composition. The word “journey” should be understood in a metaphorical sense here, denoting an exploration of different musical languages and expressive possibilities. The pleasure of experimenting with diverse technical and poetic approaches therefore emerges as the unifying thread across these pieces.
Preludietto (from Suite No. 3)
Preludietto is a brief piece that might be linked to the notion of “pop minimalism.” However, the term does not refer specifically to the compositional approaches of major American figures such as Steve Reich or Philip Glass, but rather to a broader outlook that minimises melodic, rhythmic, and harmonic materials. This style of music is often connected to imagery, possibly of nature, and can act as a backdrop. Indeed, the rapid, consistently patterned notes in the right hand, played with a delicate sonority, evoke something fluid—rather like ripples on water or a soft drizzle of rain.
Grazioso (from Suite No. 2)
Grazioso is strikingly delicate, gentle, and slightly swaying in the first and third sections, underpinned by a chromatically tinged harmony. The short central section, by contrast, is dominated by swift, fluttering notes, akin to a sudden gust of wind or breeze.
Melodia (from Suite No. 2)
Completed in 2004 in memory of my dear father, this piece offers a poignant, melancholic melody, almost always led by the left hand and given a subtle accompaniment. At its conclusion, there is a brief yet more intense passage, after which the melody softly fades away.
Scherzo (étude About Rhythm and Articulation – from suite No. 1)
Drawn from Appunti di viaggio (Travel Notes) Suite No. 1, this Scherzo is an Étude devoted to rhythm and articulation. Its defining attribute is the persistent Bulgarian rhythm that permeates each of the piece’s three sections.