Many important collaborations in the context of today’s chamber music: he played with guitarist L. Attademo, violinists M. Kanno and D. Ceccanti, cellists F. Dillon, A. Ivashkin and M. Barrera, the oboist F. Bagnoli, M. pianists Ditches and G. Nardi, rumors S. Bergamasco and M. Lions, the European Ensemble “Antidogma”, the “Freon” ensemble, the “Contempoartensemble”, and with the center of research and production “Tempo Reale”.
He recently created and curated the project “Futurism in the suburbs”, supported by the University of Cosenza, where the show – accordion, oboe, baritone and narrator – made his debut, and then be replicated in the Auditorium of the Academy of Denmark in Rome and at the Museum of textile Machinery (MUMAT) Vernio.
In 2013 he was a guest of the main program of the celebrated season of the Friends of Music of Florence, at the Teatro della Pergola. In this context he made the first Italian performance of Fetzen – for accordion and string quartet – an important composition of one of the most celebrated contemporary composers, German W. Rihm. In 2013 he also played at the Auditorium Parco della Musica – Sala Petrassi – for the seventh season of Concerts in the Park of Contemporary Music Ensemble (ECHP). He is accordionist of the ECHP Ensemble in residence of the Parco della Musica in Rome.
He has recorded for EMA and records for the Curci. He teaches at the Conservatory of Avellino. He founded the RowsEnsemble of which he is the artistic director. Since 2011 he is Director of the Open Group Music Today (GAMO) in Florence.
What are your impressions on the state of the art in Italy? The accordion has the proper recognition, or is considered to be an instrument of niche?
If you ask me what the accordion has affirmed its identity as a concert instrument, the music scene in the foreground, as it was able to be placed alongside the great instruments of the classical tradition, I say not quite yet. Why a phenomenon of complete artistic emancipation of a musical instrument is accomplished in a manner capillary – regular – final you need to spend time settling, a natural period of time be able to define a broader history of the instrument and its cultural development. So we have to wait again, and outcomes that will reach a lot will depend on the quantity and quality of work that will continue to make the accordion and interpreters – the thickness of their cultural and artistic projects music – cultural operators who deal with the accordion, teachers and musicologists, the artistic directors of the festival accordionists. About organization of musical events, with the accordion central theme, I really hope there will soon be the “Festival of the Accordion” that do not involve too many competitions – competitions – trophy – cups or even – a word that sounds bad in art – championships. I think it would be very interesting to imagine the foundation of a prestigious award for accordionists, able to cast those who would win it in a brilliant career, and then, really, imagine “Accordion Festivals” with only concert performances, frequented by artists invited to tell their own personal journey. Festivals capable of becoming an open recognizable space, where accordionists can express not in “agonistic opposition” between them. Places of encounter and confrontation between musician- accordionist, where you can discuss the merits of the art, for example, to play the accordion, the relationship that each artist has with the sound of the accordion. Culture places to live and stimulating thinking about music. In short, a little or in part as was the case for the guitar: there are many festivals entirely dedicated to guitar music instrument with a background similar to the accordion and accordion before, because of age, has already completed his final trial of maturation.
That said, I add that to date much has already been done to bring out the accordion from his own niche. And many were the awards came from the world of music. Several accordionists working with talent and intelligence in the direction of a high-profile concert performing arts and culture, it would be nice to imagine a growing number of musicians are able to place the accordion in the main signs of the most important theaters, festivals and concert seasons, where the presence of the accordion, especially in solos and chamber still is not at all obvious. Note the accordion, and the value of its performers, constantly present in the concert seasons would be, yes this, the greatest recognition for our entire movement accordion. Repeat, but this visibility of the instrument and its players will take some time.
Personally, I also do my part in this direction and I try to make it consistent with my idea of accordion, with my culture and my artistic sensibility . So I was able to realize my musical projects in many musical centers of the first floor, in prestigious concert seasons, and also to boast partnerships with leading musicians and composers in the music scene today.
Let me give just one example of one of my most recent concert projects , testifying to what I said. I ran to the Friends of Music of Florence in the Italian premiere, with the Quartet Savino di Napoli, a major composition, titled Fetzen (Fragments), for accordion and string quartet, the famous German composer Wolfgang Rihm, recent Golden Lion for Lifetime Achievement at the Venice Biennale. The concert was part of the main program of the concert season of the Friends of Music of Florence – one of the Society’s most prestigious concert and oldest in Europe – a billboard where the accordion in a solo role (in this single cycle of eight compositions – very complex and virtuosic – the composer gave the accordion a concertante role) and principal appears very rarely. Here, I think this should do well to strengthen the accordion: accordion concert performing an advocate in these important musical contexts, natural environments for violin – cello – piano – flute – singers, alongside of which the accordion should feel at ease.
Can you talk about his experience in teaching?
By logging to say what has been said before that the role of the school is to educate students to be critical to achieve certain goals for quality and great musical maturity. At school, from the beginning, students conservatives should, in my opinion, to develop, as well as their technical and instrumental practice, their musical culture. Yes, the school should focus on development of the personal culture of each accordionist, should foster an opening of minds and the minds of young music students. Open-mindedness that improves the ability to think – feel – see. The school must train musicians able to listen to the sound and to understand it, must direct young people towards a cultured and refined conception of the accordion, regardless of the style and genre of music that each interpreter chooses to attend. Then maybe not all students will be musicians, for natural selection , or for many other reasons, but those who have the strength, luck, chance ( he music of the case would Paul Auster ,”as an experiment in truth”), the ability and expertise to be, should aspire to open contexts, wide-ranging contexts of historical value prestigious, and not only in the contexts of the field, which I often find myself self.
Since 2005 I teach at the Conservatory of Music “D. Cimarosa” Avellino. I taught there for all these years without interruption. This was fortunate for me and for my students, despite the great effort of endless trips to reach the seat of the decentralized Cimarosa . It was an important experience: I started with guys who started from a zero level, and within these years, I have worked with them with great enthusiasm and a great desire. Today I’m reaping the benefits of all this work: I have a course made up of promising young accordionists, that I, with my classes, I try to steer them toward more natural and congenial artistic landing, and to inspire them in their choices of interpretation.
In what way the concert intersects (and possibly interacting) with the activity of a teacher?
The concert is a profound experience in the life of a musician and I think helps to give more when you teach. I think, for example, help to teach you how to better manage the complex task of playing live, I also teach best to overcome issues of interpretation and enforcement that are the basis of every concert experience. Being musicians believe will allow us to have for our students, those in the most useful tips to deal with, even from a psychological point of view, the great experience of playing in public, and the wonderful scene of the vertigo that any theater or auditorium or concert hall is able to give. But teaching is much more: it is mainly train individuals culturally developed, with a self-consciousness, they have an idea and a clear plan that affects them, they are able to imagine “large” in some way – ‘musical'; curious musicians be able to hear the music with an open mind, and be in a position to appreciate their value; musicians willing to listen to music several times a difficult to understand, to learn how to discover it and love it , musicians are able to categorically reject a lot of cheesy music and vulgar that the market propina fiercely – and mind you, I speak not of one gender over another, for me there is different apprezzabilissima pop music, musicians in a position to make themselves capable of transferring as others have assimilated during their training. To do this we must not necessarily be musicians, you have to love your job and be humanly generous.
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