Have you started to study music when you was six year old, shouldering the accordion. What are the aspects that fascinate you most of this instrument?
The versatility, I am able to space in many musical genres, from folk to classic music, I can easily move with the instrument, I can play anywhere, and above all I can use with a lot of tonal possibilities!
Eugenia Marini, great accordion player, has played a key role in your artistic life. What and how much did you learn from her?
I learned so much from her. In addition to being a talented performer is a very valuable teacher. With her I changed my way of using the instrument, devoting more attention to the interpretation and healing all shades, as well as studying the technical free bass with Bajan. I owe her a lot.
You play from traditional to contemporary music. How does this your versatility come?
It occurs naturally. Perhaps the fact that I like to wander playing very different genres has helped me in this, without claiming to know how to play everything perfectly.
In 1992 you have embarked on a new and fruitful collaboration with one of the leading international exponents of flamenco guitar: Livio Gianola. How was this musical society born?
For if, as often happens. Livio was to record the original songs and wanted to insert the accordion. My brother studied drums with Pietro Stefanoni, drummer and percussionist of Gianola age group. So, by my brother, I started a wonderful experience that continues today. Livio Gianola is an extraordinary musician.
As accordionist, what are the strictly technical difficulties related to a musical genre like flamenco?
They are many. In traditional flamenco there is the accordion. Gianola has modernized much this kind of language. At first the difficulties are more rhythmic. Playing a bulerias is not simple: a 12/8 where you never accents the one, but the 12, that is, the last rhythmic division, one starts from 12, then 3, 7, 8, 10 and 12 and so on. Understanding how to interpret obliged, putting the right accents and phrasing in improvisation. It is a fascinating genre, but at the same time very complex. Also in this case Gianola was a fundamental aid.
Throughout your long and brilliant career you have performed on the stage with several prestigious musicians, including: Eugenio Finardi, Stefano Bagnoli, Max De Aloe, Marco Detto, Marco Ricci, Giovanni Giorgi, Francesco D’Auria, Oscar de Los Reyes, Antonio Canales and many others. Who among all these enriched more, really, your artistic and personal baggage?
Every musician you work with enriches you in something, leaving you something. The name is always the same: Livio Gianola. With him I have done many tours in Italy and abroad, I have recorded four albums, trod very important stages and saw places that I never thought to see, such as Japan. Two tours with Alborea Mara Terzi company, without forgetting the many other musicians who have taught me so much and I thank him. I hope I have left in my turn even a thought or an anecdote on which smile.
You had the opportunity to perform with in many countries such as Switzerland, France, Spain, Germany, Czech Republic, Japan. What is the most precious memory that jealously guard after living these experiences?
The friendships that are born. I’m friends with people in Japan despite the past fifteen years. Then last year in Turkey. We were there (with Livio Gianola) to play at the Festival Flamenco in Ankara. On the morning of the concert there was an attack in a peace march that caused the postponement of live. It took only a glance of us musicians. Then we proposed to play behind closed doors in the Flamenco school in Ankara, which was the organizer of the entire festival. So, we played behind closed doors for twenty young music lovers. He ended in tears of emotion and hugs, in an atmosphere as you can imagine it was really heavy. An unique experience.
What kind of feedback you get when you play live in Italy?
Always very positive. Despite the less good period, there are still many people passionate about music. I look at those.
Give concerts in Italy or abroad arouses in you the same emotions?
Yes, the public should be respected always and forever. Italian or not, it makes no difference. It always sounds with maximum effort and with the aim to communicate something positive, to convey emotions that can touch all and sundry. Sometimes there is a perception abroad that there is greater concern for the musician who does and sometimes it is not only a perception, but it is reality, although playing in an Italian or foreign theatre that gives me the same positive emotions.
You are focused on building new recording projects?
Yes. A brief released a duo album, and I and Simone Mauri, a bass clarinet player of immense talent. A very interesting CD in my opinion, with many original pieces composed by Mauri. In the new year I will record the first album on my behalf. A work of my own with two companions of exceptional travel: Max De Aloe chromatic harmonica and Roberto Olzer the piano. There will also be my compositions. This is a new experience for me, but very stimulating. Do not advance another.
This article is available also in: Italian