At the age of 18 he got also the Piano Diploma with the maximum of point, lode, and special mention in the conservatory of Campobasso “L. Perosi”; his studies goes on until obtain the Master of Accordion (110 et lode) in the Conservatory “L. Refice” in Frosinone, Master in “Teacher Formation A77” and Master in “Chamber Music”(110 et lode) in the Conservatory of Roma “Santa Cecilia”.
He takes part in masterclasses with the best accordionist in the world: (Mika Vayrynen, Yuri Shishkin, Frederic Deschamps, Viacheslav Semionov, Owen Murray) and he’s the winner of a lot of competitions (Concorso di Esecuzione Musicale – Riccione 2005,“Trofeo città di Atri” 2006, XIII Concorso Luigi Nono 2009, I Festival Internazionale Santa Cecilia – Roma 2010, Premio “S. Bizzarri” 2010).
He has played, with more and more support, in the more prestigious concert hall in Italy, Spain, Portugal, England, Serbia, Lithuania, Canada.
He is part of various chamber ensembles: Coro dell’Università del Molise (directed by Gennaro Continillo), FATUM Trio (with Giuseppe Scigliano and Massimiliano Pitocco), the quartet MADA’s and Trio MIELE with that from several years plays a repertoire that goes from the Baroc to contemporary Music.
He is teacher of accordion in Conservatory of Campobasso “L. Perosi”.
You had a various and complex musical education, what do you think has most influenced your musician figure today?
My figure of musician today is the development of a travel, that has started from an early age, thanks to the vision and tenacity of my father, teacher of a small music school in my village.
I ‘m aware that I received a solid basic musical education, thanks to which I had the opportunity of easy access to the various courses of study that have accompanied my growth in this field. Having dedicated in the same time to the piano and accordion, it undoubtedly has allowed me to have a wider view of music in general, but it’s obvious that at the end of the studies of the two instruments, the accordion has become my passion and my work. Finally, but I think the most important aspect, I had the luck to study with two great teachers, both in terms of musical knowledge and teaching: Michele Battista (piano) and Massimiliano Pitocco (accordion). The second in particular was a bit my second father; with him from the age of seven, I had the pleasure of discovering the enormous potential of my instrument, and thanks to him I received a complete education, at 360 degrees, starting from the original music of various national schools, through the varied world of the organ repertoire harpsichord-up to reach the intricate but equally fascinating world of contemporary music.
You attended many competitions, for accordion and not, often being also the winner. What are the differences? What are the strengths and weaknesses of the current accordion festivals? It is important to participate?
Besides the purely organization in any competition the focal aspect is the jury. When I was a child I understood that often evaluation in a music competition is something very subjective. If there are common sense, honesty and competence recognizing the validity of others’ work, you are faced with a clear and unambiguous judgment.
In Italy over the years, competitions have increased in number, and in those of musical performance known that you are giving more and more space in our tool. This is undoubtedly a positive aspect. I think the experience of the competition (seen as a comparison) is very good and no doubt essential for the growth of each musician. For an accordionist, especially in Italy, an international competition is a valuable opportunity to observe what is happening in the entire world of the accordion, and not only been limited to what happens in our local (small or large).
Regarding the festival, I am pleased that in recent years the Festival of Castelfidardo has invested heavily on the development and growth of this event, and it is important to create an environment of encouragement to all the young accordionists who present themselves as competitors.
At the same time the Accordion Festival is a project carried out by Maestro Massimiliano Pitocco within the “S. Cecilia “of Rome. This biennial event is rapidly gaining visibility in the international scene of our instrument and includes within masterclasses with renowned teachers, a series of concerts and a competition that attracts every year more and more competitors from around the world.
My hope is that more and more events of the world of classical accordion will increase, following the example of events and festivals organized by countries like Russia, Serbia and Finland, and make the most of these opportunities also to arouse public attention Italian and cultivate interest in the so-called “serious” music.
For several years, although still very young, you’re the professor of accordion at the Conservatory “L. Perosi” in Campobasso. How was the transition from student to teacher? What do you think of the level of the Italian school even than international (Russian, Serbian, French etc)?
Start a class of accordion and teach in the conservatory where I grew up is a good opportunity that I had, and I don’t deny that the first time was also a bit strange assume the role of the teacher just in Campobasso. I was able, however, to know better and close many colleagues with whom I work now frequently to organize concerts, seminars and numerous initiatives within the institution so that it is full of activities to stimulate as much as possible the growth and interest of our students to classical music. The comparison of the Italian accordion school with foreign ones is something very delicate. In Italy we have very good teachers, confirms the fact that they are often invited abroad for both concert for workshops or master classes. The central point is the spirit with which you approach to the study, and the study programs that are offered at the time in the conservatories. It is obvious that both these elements abroad are focused on the same goal: to create in a manner as complete as the figure of the musician. Not to dwell on how and why, in Italy, unfortunately, there is not always this unity of purpose between the conservatory and the student. Nevertheless in the last 10 years have however identified a number of talents that are often present on the international scene both as performers and as competitors in important competitions, for example Convertino, Telari, Roffi, Credidio. Names that besides giving luster to the classes of its teachers, hold high the level of the Italian school.
You are also involved in various chamber (Fatum Trio and Trio Miele): What are the emotions that give you? What is it that intrigues you and more excites you?
Since 2005 with my two brothers Alessandro (violin) and Maria (cello), we have created a stable, through which we have fun exploring the many different kinds of music and the possibilities really many of our staff. It is a stimulus and a continuous search, without considering that every time we have the chance to play together and it is always really a beautiful emotion.
The Fatum Trio is a collaboration with two accordionists of exception: Massimiliano Pitocco and Giuseppe Scigliano. Besides being colleagues, we are three friends united by their passion for the accordion and ensemble music, and more than two years we are present with our trio in many festivals and concert seasons in Italy and abroad, with a vast repertoire and varied. We actively, in addition, the composition and dissemination of new works for this training versatile multi-faceted and a thousand possibilities.
The accordion not arrived yet to standardization; There are various models and systems even within our country. You think it’s something that strengthens the life of the instrument or only slows the statement as a tool “serious” in the audience less experienced and wider?
I see the process of standardization of the accordion in Italy as a natural phenomenon; no one can say how long, nor where it will lead, because it depends on many factors. I do not think, however, that these kinds of tools will slow down the complete statement as serious instrument. What imore slows it, is a sterile war between the different parts. But if the war turns into confrontation, then sterility gives way to constructive, and it matters little if it is different in thought or in practice, when the individuality, despite the diversity, remains anchored to excellence. In other words, it doesn’t mind if you play an instrument with keys or buttons. Just think of the likes of Stefan Hussong or Yuri Shishkin. We, Italian accordionists have responsibility to propose to the public with concert programs and make more appropriate information, to make clear that in Italy at the moment there is not one accordion, there are different sizes, and with different characteristics. Each of us has a great responsibility in the history of this instrument, relatively young compared to others.
It will then be the story itself to decide what will be the future of the accordion.
Projects for the future?
At the moment I’m focusing my energies on building two recorded works, one solo and one ensemble. I have a class of students in Campobasso who are very close to, and I want to build with them something tangible and useful to the public access to the understanding of the accordion as a concert instrument.
This article is available also in: Italian