Maximiliano Amici: Piano Works
Same composer
Da Vinci Classics
Jiran Niu, Peiyao Guo, Siyue Yang, Yaxin Dang, Yue Xia, Yun Tang
Physical Release: 25 September 2026
Digital Release: 9 October 2026
15.63€
Jiran Niu (钮吉然) currently serves as a Music Lecturer at Duke Kunshan University. He previously served as Assistant Conductor of Wuxi Chinese Orchestra and a percussionist of Wuxi Symphony Orchestra. In percussion performance, he won the Gold Award at the 5th Taipei International Percussion Competition. During the 2016–2017, he joined Asian Youth Orchestra, embarking on concert tours worldwide.
Peiyao Guo (郭配垚) currently serves as a cello faculty at the Shanghai Conservatory of Music. He is also a cello faculty member of the Tianjin Juilliard School Pre-College. He held Associate Principal Cello position in Guangzhou Symphony Orchestra from 2018-2020. Guo holds bachelor and master degrees from the Royal Academy of Music and the New England Conservatory, he received his doctorate at the Shanghai Conservatory of Music.
Siyue Yang (杨思越) is a Collaborative Piano Teacher and PhD candidate in Composition Theory at Shanghai Conservatory of Music. She holds a master's in Solfeggio from SHCM, a bachelor’s in composition from Wuhan Conservatory of Music, and a Piano Performance diploma from WHCM Affiliated Middle School. Her music has been performed by Guiyang Symphony Orchestra, received awards and have been published. She has edited and translated books and performed with world-renowned musicians.
Yaxin Dang (党雅馨) is currently a second-year graduate student at the Shanghai Conservatory of Music, studying with Professor Ma Yong. She won the first prize in the youth category of the 2020 Paris Opera Music Competition and 2022 Canada Quebec Music Competition. In 2023, She won second place in the Basel flute competition in Switzerland. In 2024, She was admitted to the Asian Youth Orchestra and toured Asia as principal flute.
Yue Xia (夏悦) serves as chamber music teacher at the Shanghai Conservatory of Music, and Visiting Teacher at the Conservatoire Royal de Mons. He is National Class-III Performer. He earned his bachelor's degree in clarinet performance from the Shanghai Conservatory of Music and completed master's degrees in clarinet performance at the Conservatoire Royal de Mons as well as in clarinet performance and chamber music at the École Normale de Musique de Paris.
Yun Tang (唐韵) serves as a violin faculty at the Middle School Affiliated to the Shanghai Conservatory of Music. She earned her Doctoral degree from Shanghai Conservatory of Music, and her Master’s degree from Salzburg Mozarteum University. As a solo and chamber music musician, she has performed at international stages such as Shanghai MISA Festival, Salzburger Festspiele Austria, Gstaad Menuhin Festival Switzerland and more.
Maximiliano Amici
Maximiliano Amici, disciple of Luciano Pelosi and Stephen Jaffe, earned his master’s in music composition at the Santa Cecilia Conservatory in Rome. He also holds diplomas in electronic music and conducting from the same conservatory, as well as a diploma in piano performance from the S. Pietro a Majella Conservatory in Naples. He joined the doctoral program in composition at Duke University after a period of specialization in avant-garde music at the Hochschule für Musik in Basel with Prof. Erik Oña.
He earned his Ph.D. in music composition in September 2021. His dissertation, available on all the major streaming platforms, is a dramatic cantata for baritone, large chamber ensemble, male choir, and electronics based on The Pit and the Pendulum by Edgar Allan Poe, for which he also authored the libretto and conducted the recording sessions.
The Orchestra Sinfonica Nazionale RAI recorded his orchestral piece Flowing under the baton of Yoichi Sugiyama in 2014. The composition was broadcast His music has since been played and recorded by several prominent chamber groups, such as the Ciompi Quartet, Imani Winds, JACK Quartet, Parco della Musica Contemporanea Ensemble, Ensemble Phoenix Basel, Deviant Septet, among others.
He began teaching at Duke Kunshan University in 2021, where he is currently an Assistant Professor of Music and Composition. His music is published by DoNeMus, Curci, and Ars Spoletium. Commercial recordings of his music are available through DoNeMus and Ars Spoletium.
PREFACE To the Fleeting Water Say is directly inspired by the I Ching. I composed music for 35 hexagrams, with the exploration of change as a guiding principle. Artistically, I engaged with the I-Ching as a book of wisdom rather than as one of divination: I made no use of chance. The title itself holds a double reference: to The Analects (9.17), where Confucius compares the course of things to a river in ceaseless flow, and to the final line of the last sonnet of Rainer Maria Rilke’s Sonette an Orpheus, which it directly quotes. While I sonically…
PREFACE
To the Fleeting Water Say is directly inspired by the I Ching. I composed music for 35 hexagrams, with the exploration of change as a guiding principle. Artistically, I engaged with the I-Ching as a book of wisdom rather than as one of divination: I made no use of chance. The title itself holds a double reference: to The Analects (9.17), where Confucius compares the course of things to a river in ceaseless flow, and to the final line of the last sonnet of Rainer Maria Rilke’s Sonette an Orpheus, which it directly quotes.
While I sonically evoke broken and unbroken lines as longer and shorter streams of sound, I do not directly map hexagram structures onto scales or rhythms. The I Ching’s deeper influence emerges instead in the work’s structure and compositional process. For each trigram—the basic unit from which each hexagram is formed, combining an upper and a lower trigram—I developed motives and musical structures: small collections of pitches and rhythms that serve as generative seeds. These initial materials are not yet tied to a fixed expressive character. I first composed eight pieces based on hexagrams formed by doubling a single trigram, allowing these seeds to unfold into complete short works. The remaining pieces arise from combining trigram-specific materials according to their position within each hexagram. The symbolic images of the hexagrams then shape the expressive character of each piece, emerging from the interaction between the two constituent trigrams. The first eight tracks, based on doubled trigrams, present the core musical ideas from which the others derive. The remaining pieces may be heard in any order; their sequencing here simply aims to create variety of character and instrumentation. Here follow a brief summary of the images that inspired me for each hexagram.
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