Chiapelli Tiziano is one of the most eclectic and respected Italian and European accordionists with a music technique playing visceral and kaleidoscopic. In this interview he talks about himself artistically and humanly.
You are a particularly versatile accordionist. You range from jazz to tango and classical music. How is this your stylistic versatility born?
My versatility comes from different experiences with certain musicians like Gianni Coscia, Iller Pattacini, Paolo Gandolfi, Lelio Luttazzi, Glauco Caminati, Riccardo Muti, Bruno Serri, Luis Bacalov and many others.
You have been the winner of several international competitions. There is one you remember with more pleasure?
I remember with special way all the competitions in which I participated, but Castelfidardo, Val Tidone and Stradella were the most intense.
You are very active as an accordion teacher. How do you approach your life as a teacher?
Giving the best of myself, trying to communicate the music as simply as possible, whatever it is, from classical to jazz, from tango to other genres.
What are the top tips that pour out to your students?
Loving yourself and the music.
Among the plethora of partnerships that enrich your resume stands out considerably in 2003, with one of the best jazz fusion guitarists in the music world: Scott Henderson. What can you tell us about this experience?
It was a godsend. At the Frankfurt Musikmesse I had the honor and the honor of singing a duet in Got A Match? and Caribe with this great jazz musician, who finally said to me, “You have more sound and a great improvisation.”
Slovenia, Germany, France, Hungary, Switzerland, Austria, Czech Republic, Denmark and Belarus are just some of the countries in which you performed. What are the similarities and the differences with regard to Italy?
First of all the culture in all its forms, then the consideration for a musician who for them is like a doctor or a lawyer. In Italy, however, unless you are famous you are at par with anybody, because in our country music and other expressive forms of art are considered like a hobby.
Speaking of Italy, in your palmares there is a prestigious collaboration with one of the most famous and acclaimed drummers: Tullio De Piscopo. How and when did you take this artistic adventure?
In addition to “Dad” Tullio De Piscopo I have to thank the Maestro Riccardo Muti, Lelio Luttazzi and Luis Bacalov, because through their collaboration each of these artists has taught me and transmitted something special that goes beyond technique and beyond any form of tightrope walking musical.
As he has enriched the professional and personal experience with a sacred icon of our local battery as De Piscopo?
It is impossible to quantify what I have below and how much I still have to learn from him as a man and musician.
What kind of repertoire run with him?
Tullio was very versatile, you pass by the nuevo tango to jazz, from pop to rock.
What are your plans for the immediate future?
Later this year, barring unforeseen circumstances, will be released two CDs. The first will be a homage to Wolmer Beltrami, that already has a musical project active. The second, however, will be a surprise that concerns the tango. I revisit a quartet classics of this genre arcs: from Gardel to Pugliese, up to Piazzolla.
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