Danilo Comitini: Ruìnas, for Piano

Composer(s)

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.