You have been in touch with the world of the accordion from young, first led by Maestro Pino Di Modugno, then by Maestro Giancarlo Caporilli. After many experiences in stages, theaters and even in squares in Italy and abroad, how you consider yourself today: a classical or contemporary musician? You prefer folk music, electronic or other genres?
I consider myself primarily a musician who plays with the heart. My relationship with the accordion is something special in the sense that is like my lifeblood. When I play I try to express what I have inside, is like a journey inside my soul and my feelings. I move between the various genres, from classical to contemporary, from the variety show to folk, but in recent years I’m particularly attracted to jazz and improvisation.
I’ve often heard, on the occasion of the many festivals or fairs, dealing with the accordions midi and / or digital. What is your opinion? Do you think we can deal with a normal rotation dictated by technological or you suspect that this type of tool travel on a rail diametrically opposed to that notoriously “traditional”?
The technological evolution, as it should be, it is also set in the music industry leading to the creation of a good standard digital accordions. In my opinion the traditional accordion will never be replaced by digital, because the acoustic transmits feelings to artist and public that digital can not give.
Tell us about your school, how is the approach of young people with the accordion, how is considered by the younger generation and what are your teaching methods? Do you adopt common educational programs or prefer customize your lessons?
In the collective ideal generally accordion is identified with folk music and is often seen as a tool that attracts an adult audience. Instead it is not today, because the accordion has wide space in various musical genres and thanks to some artists has spread and is popular among young people. In fact, in my school there are many children and young people fascinated by this tool and its potential. My other students instead have always loved this instrument and with patience and passion have waited free time from work and family commitments to devote himself to the study of the accordion, failing to reach optimum levels because driven by an intense passion grown over the years. While adopting a well-defined curriculum is logical that it should adapt to the needs and abilities of each individual student and this is what makes it so fascinating and never boring teaching others.
I think you’ll agree that the “castelfidardense” craft constitute an absolute excellence worldwide. Yours is an accordion Giustozzi: what impressed you and what are, in your opinion, the added values of this tool?
What struck me immediately of the company Giustozzi are a set of positive qualities: reliability, competence, attention to detail, the use of high quality materials, but above all the passion that Giampiero Giustozzi, owner, has for accordions, as he personally puts his hands in each instrument that bears his signature.
Leafing through the company’s catalog, among the best production I’ve noticed the mod. Gianni Mirizzi. Beyond the personal satisfaction, why Giustozzi wanted to dedicate to you such an important tool?
This should ask Giustozzi … I can tell you is that this tool was born from the union of our experiences, in fact Giustozzi made real my ideas and my needs, achieving a high level of professional accordion particularly suitable for jazz and classical music but also for “liscio” and folk.
In Formula 1 the contribution and guidance information are crucial for the realization of a winning car. In your opinion, the same theorem is also applicable to the construction of an accordion? You think that the tools on the market have now reached an absolute level or do you think that with time we can make further improvements?
Of course, it is precisely on the basis of this theorem, which, as I said before, was born the accordion model Gianni Mirizzi. The tools on the market have reached high levels, but as with everything there is always space for improvement.
Returning for a moment to the world of electronics … Over the years, the sampling quality of the sounds has been improved, have been introduced new generation libraries, were mounted velocity-sensitive keys and bellows pressure sensor, dissolved low, not to mention of the many accessories, usb inputs, hard drive and so on. I have always considered this as a different instrument, not an accordion, but something complementary, certainly fascinating and eye-catching, but still different. That being the case (and reiterating my personal opinion as debatable) that’s missing is a specific literature for the instrument, something that can take advantage of the enormous potential in terms of polyphony. I’d like to see an “accordion” of this kind in the hands of a good contemporary composer … What do you think?
I totally agree with you, for me the accordion is just the traditional one. Digital technology is certainly fascinating but another thing, it is a comprehensive tool, with great potential and especially “modern”, and definitely a good composer, attracted by this type of accordion, can highlight its best quality.
Among the many musicians who have attended or to know, there is one that esteem in a particular way, and maybe that can be an inspiration for you?
I really admire the great Pino Di Modugno and Emanuele Rastelli.
Assuming a brighter future for the accordion, how you see it? What are your plans for the future?
There are many projects: the release of 2 CDs and a film for which I wrote a song called “The Voice,” some plays. But what I care about in particular is the “Gianni Mirizzi Project”, a jazz trio consisting of accordion, bass and drums. Apart from these projects, I see my future full of satisfaction because I’m lucky to do what I’ve always wanted, that is to put the music at the center of my life … and as the famous philosopher Platone said, “Music is good for the heart and the soul”.
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