Sonatina No.1, Op.18 (2019)
The Sonatina No.1 Op.18, composed in 2019, is cast in three short movements of contrasting character: Marcia (Allegretto), Notturno (Adagio), and Toccata (Vivace).
In both language and atmosphere, it may be understood as an homage to Nino Rota.
The first movement, Marcia, is defined by a regular and incisive rhythmic profile, where thematic clarity is combined with agile pianistic writing, resonant with the twentieth-century tradition of the “didactic-concert” genre.
The Notturno introduces a lyrical, contemplative register: melodic lines unfold within a rarefied harmonic fabric, where expanded temporality and rhythmic suspension evoke a mood of intimate reflection.
With the final Toccata, the musical discourse reignites in a virtuosic vein: tight, motoric writing, dominated by triplet figurations, imparts a brilliant and conclusive character.
Despite its brevity, the sonatina traces a coherent path of contrasts and complementarities: from the rhythmic tension of the march, to the nocturnal lyricism of the central movement, to the propulsive vitality of the toccata.
The overall design recalls a classical tripartite balance, reinterpreted through a tonal language enriched with modern inflections and personal expressive sensitivity.
10 Bagatelles, Op.40 (2021)
Composed in 2021, the 10 Bagatelles Op.40 form a cycle of brief pieces distinguished by their variety of character and writing. While the term bagatelle is traditionally associated with concise, light forms, here it becomes the opportunity to explore self-contained pianistic microcosms, each endowed with its own colour and gesture, yet united by a lunar, fantastical register.
・No. 1 Andantino. A calm and lyrical opening, built on simple and regular melodic lines, contemplative in nature, lunar and suspended.
・No. 2 Andantino scorrevole. A more fluid, continuous texture, cantabile and almost childlike, animated by subtle rhythmic ripples.
・No. 3 Allegretto. Incisive and brilliant, with a scherzo-like character, marked by repeated notes and mazurka-like rhythm, with constantly shifting dynamics.
・No. 4 Scorrevole, sommesso. Intimate and lyrical, yet pervaded by continuous tension, entrusted to soft figurations of introspective tone.
・No. 5 Andante. A more meditative, suspended episode, expansive and solemn, introducing a deeper expressive register.
・No. 6 Vivace. Energetic and motoric, with virtuosic traits and a driving rhythm reminiscent of Eastern European folk dance.
・No. 7 Scorrevole. A renewed moment of fluid lyricism and narrative lightness, marked by linear melodic clarity.
・No. 8 Andantino sognante e sospeso. A rarefied, dreamlike atmosphere, in the manner of a barcarolle, achieved through expanded harmonies and suspended temporality.
・No. 9 Serrato. A sharp contrast: compact and rhythmically pressing, with pronounced accents.
・No. 10 Andante, quasi adagio – Agitato e drammatico. A more expansive conclusion: from a slow, reflective beginning to an agitated, dramatic finale, closing the cycle with intensity.
The set as a whole presents a continual alternation between lightness and tension, between lyricism and motoric drive, offering the piano a wide expressive range which, though compressed within the brevity of each number, maintains coherence of language and richness of invention.
Jewish Fantasy, Op.42 (2022)
Composed in 2022, the Jewish Fantasy Op.42 is an expansive piano piece of approximately six and a half minutes. It situates itself within the tradition of the free-form character piece, close in conception to the Romantic fantasy, yet articulated in a more modern idiom.
The work is founded upon the alternation of contrasting episodes: sections of strong tension -sustained by repeated chords, dense figurations, and extreme dynamics – oppose lyrical and introspective moments, sometimes marked by rubato motion and a suspended atmosphere.
The use of modal scales and intervals typical of traditional Jewish music (such as the augmented second) imparts a distinctive colour, evoking popular idioms without recourse to direct quotation.
The form, deliberately and not rigidly defined, though tending towards a tripartite scheme, unfolds as a succession of episodes guiding the listener through heterogeneous soundscapes: from the initial dramatic impetus, to the more meditative central sections, and finally to a rarefied, “spectral” epilogue.
The overall effect is that of a musical narrative of marked emotional intensity, constructed through dynamic, timbral, and rhythmic contrasts that confer upon the piano an almost theatrical role.
Variations, Op.45, on a Theme by Giuseppe D’Amico (2022)
Composed in 2022, the Variations Op.45 take as their point of departure a theme by Giuseppe D’Amico (No. 2 of his Tre Danze Notturne), presented in its original, simple and lyrical form (Lento). From this unfolds a sequence of variations which, while preserving the recognisability of the basic material, transform it through contrasting expressive registers and characters.
・Tema – Lento. Stated with sobriety, of cantabile and intimate character.
・Var. I – Poco più mosso. A slightly more animated development, which retains the melodic clarity of the theme.
・Var. II – Scorrevole. A subdued, legato atmosphere, with fluid and delicate writing.
・Var. III – Vivace. A rapid and brilliant movement, marked by accents and contrasting dynamics.
・Var. IV – Tempo di valzer. Transformation into a ternary waltz rhythm, with elegance and dancing lightness, where thematic elements interweave between the hands.
・Var. V – Allegro. Fluid and incisive in character, with lively triplet figurations alternating between the hands.
・Var. VI – Andantino. An expansive, almost meditative page, with the character of a barcarolle, easing the tension.
・Var. VII – Vivace marcato. A resolute movement, almost Prokofiev-like, defined by sharp rhythmic accents.
・Var. VIII – Adagio. A lyrical and introspective moment, airy and broad in melodic scope.
・Var. IX – Tempestoso. A movement of strong dramatic tension, rhythmically pressing and harsh.
・Var. X – Andantino. A calmer passage, cantabile and pastoral in character, defined by an ostinato E serving both rhythmic and harmonic functions.
・Var. XI – Presto. A rapid, virtuosic episode of brilliant, toccata-like character.
・Var. XII – Andante di barcarola. An oscillating and cantabile movement, evoking a rocking rhythm between barcarolle and lullaby.
・Var. XIII – Allegro scherzando. Light, ironic and playful, with humorous and dance-like traits typical of the scherzo.
・Var. XIV – Adagio. A meditative section, expressed in an intimate and lyrical tone.
・Var. XV – Finale / Presto. A virtuosic fantasy in perpetual motion (legato, scorrevole), driven by reiterated cells and rhythmic interlocks in which the theme resurfaces repeatedly between the hands, thickening the texture until a climactic explosion, followed by an extended stasis; an energetic synthesis of the cycle’s motoric impulses.
・Tema: Corale – Lento. A final restatement of the principal material in an almost homophonic “chorale” guise, where block chords move compactly across the piano’s registers over long sustaining pedals.
The work as a whole reveals a cyclic construction that alternates lyrical and contemplative moments with episodes of brilliant and dramatic energy.
Here, the principle of variation goes beyond mere ornamentation, becoming a progressive and substantial transformation of the material, carried out in balance between thematic fidelity and personal reinvention.