Salvaneschi, Sergio: Piano Sonata No. 1


  • Composer: Sergio Salvaneschi
  • Edition: Da Vinci Edition
  • Format: A4 - Paperback
  • Genre: Instrumental
  • Instrumentation: Piano
  • Pages: 20
  • Period: Contemporary
SKU: DV 11304 Category:

Additional information









Sergio Salvaneschi: My musical studies started in the 60’s with the Master Sergio Massaron, teacher at Conservatory and orchestra leader. The production refers to musical pieces both instrumental and vocal. In the 70’s I studied with the Master Manfredi Argento, orchestra leader. I started also the study of the operatic vocality with Renata Carosio, teacher of improvement at the Scala Theatre, these studies allowed me, in the following years, to produce also works in the vocal area. In the beginning of 2000, I participated in a competition of composition in the form of contemporary music at the International Academy of Music in Milan at the Villa Simonetta, a course in IRMUS area, with Alessandro Solbiati as a master of the course. Later I participated at the Giuseppe Verdi Conservatory in Milan to a triennial course of improvement with the Master Alessandro Solbiati. I participated in a master-class with the cellist Dindo and in a composition master-class with Master Stroppa. Since 2003 I started to produce works of contemporary music with various instrumental staff, duets, trios, quartet, quintet, and so on till triptych concerts for piano and orchestra, of titles “Caos”, “Nebulosa” and “Materia”. These compositions were published in 2011/2012. My compositions have been performed at the Conservatory in Napoli, Conservatory in Avellino, with prestigious performers, at clarinet Gaetano Russo, also orchestra leader of Scarlatti orchestra from Napoli, Francesco Solombrino violin, Gabriele Pieranunzi violin, Ricardo Serrano horn, Simonetta Tancredi piano, Nicola Cassese saxophone. At the Conservatory of Napoli it a workshop of contemporary music was developed where I participated alongside Teresa Procaccini. Some of my other compositions been performed in Milan at the rest house for musicians G. Verdi, and for the friends of Loggione of the Scala Theatre, with relief performers such as violinist Eriko Tuschihashi, Antonio Mastalli, Duccio Beluffi, cellist Yuriko Mikami, Alexandre Zyumbrovskiy, Viola Elena, Faccani and Christof Emanuel Langheim, double bass Andrea Sala, at piano Simonetta Tancredi, at flute Alessandra Giura Longo. In 2010, at the Archeological Museum in Napoli a pianistic festival took place, dedicated to the bicentenary of the birth of “Chopin and Schumann”, where my pianistic Suites “delle dissonanze” were performed to great public and critical acclaim. MY MUSICAL THOUGHT From my viewpoint, a musical idea takes origin from different aspects: the musical language, the harmonic prevalence, where the melody emerges out of complex harmonies and floating sound images, thus becoming an abstract architecture continuously changing and developing.Another aspect of my music composition is to imagine a series of musical phrases of limited length, which are ultimately converging at the closing, which is not always linear. Due to this choice, my music requires a very careful listening, because such complex architectures will, time after time, deploy a wide variety of sound images, which are not easily identifiable at a first listening; I suggest therefore to listen to my music more than once. For the performers: my music form allows a certain degree of freedom while interpreting it, and the apparent formal rigidity should not prevent a personal interpretation which, from time to time, may change in the performer. My piano works are the compendious of what has just been explained; for more complex ensembes, up to the orchestral works, I would suggest not to let the solfeggio prevail in the execution, but to let the complexity of the rhythmic/sound narration emerge, clearing it of all academic superstructures. The conductor should require a performance that is in line with my musical thought, specifying that, almost always, the formal base is the contrappunto fugato, and I do also call the attention on the use of the medieval form of cantus firmus. There is then a relevant use of percussion instruments, even with solo interventions, and not just with the function of following the harmonic patterns, which is typical of classicism. I hope that these short notes will be of help to everyone.