Listening to a song is like watching the stars.
Anytime a song is authentic and shines of its own light, it reverberates a sound that originated thousands of years ago into the present.
When I first met Niccolò Castiglioni on March 13, 1993, in the concert hall “Puccini” of the Conservatory "G. Verdi" in Milan, the subject of our conversation was exactly this aspect of the language and its principles of permanence and resistance to change. On that afternoon, Gianpaolo Bisanti was conducting a small instrumental ensemble playing my first composition “Chiacchierio”, a first approach to a research that combines the study of harmony and of counterpoint, a precious knowledge that Bruno Zanolini transmitted to me. Niccolò was enthusiastic …show more content…
It moved me to learn, a few months later, that Alessandro already heard of me, my Maestro had written him a letter about my fuga exam during his last summer. Later, in 1999 I composed - on the theme of “Inedito”- “Color Porpora”, that Tito Ceccherini conducted with his ensemble “Risognanze” in Cremona. I had studied for three years under the guidance of Alessandro Solbiati who led me to diploma. He taught me to explore and strengthen my “free will”, by cultivating an ongoing dialectical debate about composing techniques, expanded by my experience in electronic music with Riccardo Sinigaglia. In those years, inevitably, I felt like to explore an original path. This led me to seek which poetics moves the need for a language, that today I describe, thanks also to the discussions with Filippo Maria Caramazza, in Pericronismo – Perichronism Music …show more content…
The voice, an instrument and element that can shift on different composition levels – melody, timbre research and counterpoint – is for me like standing in the mirror: what does a voice translate and where does it originate from? When does a sound transform into a song and meet the frontiers of the spoken
Anytime a song is authentic and shines of its own light, it reverberates a sound that originated thousands of years ago into the present.
When I first met Niccolò Castiglioni on March 13, 1993, in the concert hall “Puccini” of the Conservatory "G. Verdi" in Milan, the subject of our conversation was exactly this aspect of the language and its principles of permanence and resistance to change. On that afternoon, Gianpaolo Bisanti was conducting a small instrumental ensemble playing my first composition “Chiacchierio”, a first approach to a research that combines the study of harmony and of counterpoint, a precious knowledge that Bruno Zanolini transmitted to me. Niccolò was enthusiastic …show more content…
It moved me to learn, a few months later, that Alessandro already heard of me, my Maestro had written him a letter about my fuga exam during his last summer. Later, in 1999 I composed - on the theme of “Inedito”- “Color Porpora”, that Tito Ceccherini conducted with his ensemble “Risognanze” in Cremona. I had studied for three years under the guidance of Alessandro Solbiati who led me to diploma. He taught me to explore and strengthen my “free will”, by cultivating an ongoing dialectical debate about composing techniques, expanded by my experience in electronic music with Riccardo Sinigaglia. In those years, inevitably, I felt like to explore an original path. This led me to seek which poetics moves the need for a language, that today I describe, thanks also to the discussions with Filippo Maria Caramazza, in Pericronismo – Perichronism Music …show more content…
The voice, an instrument and element that can shift on different composition levels – melody, timbre research and counterpoint – is for me like standing in the mirror: what does a voice translate and where does it originate from? When does a sound transform into a song and meet the frontiers of the spoken