The 32nd edition of “L’Ora della Musica” organizes a special concert at the Auditorium of Music Institut “Achille Peri” in Reggio Emilia. Marcello Paolo Guarnacci is performing there on 10th March at 11 am. He’s a 23 years old talented accordionist. He will play J. S. Bach, L. Berio, G. Frescobaldi, D. Scarlatti and J. Tiensuu. Marcello Paolo Guarnacci has studied accordion with Patrizia Angeloni at “O. Respighi” Conservatory in Latina. He has graduated with honours (Scholarship as best student in 2008/2009) and took a diploma in Composition under the guide of Alberto Meoli and one in Orchestra Direction. Today Marcello Paolo Guarnacci is graduating in Musical Subjects at the Conservatory of Latina. In 2012 he won the 7th Premio Nazionale delle Arti (accordion category). During his Erasmus Project, he studied with Prof. Hans Maier at “Staatliche Hochschule für Musik” in Trossingen (Germany) and performed there with success.
As for the accordion world, he attended several seminaries and master classes with Stefan Hussong, Teodoro Anzellotti, Matti Rantanen, Krzysztof Olczak, Giorgio Dellarole. He played in Italy and abroad for many Institution, as a soloist and in chamber music groups, including “100 Years John Cage” Festival in Halberstadt (Germania); Kaliningrad Music Academy in Russia (in partnership with the Ministery); Carrefour Mondial de l’Accordéon in Québec (Canada); Nuova Consonanza in Rome Roma; Olympic Theatre in Rome; International Music Campus in Latina; Pigorini National Museum in Rome; Regione Abruzzo; Testaccio School of popular music in Rome and Guardia di Finanza in Rome.
Also active in the contemporary field, he worked with Freon Ensemble for the “Incontro tra scuole di composizione” (Roma, Testaccio School of popular music); “O. Respighi” Symphonic Orchestra of Latina during the “Le Forme del Suono – Musiche della Contemporaneità” Festival. He also participated to “Serenata per un satellite” by B. Maderna (2010), to Symphony n.2 by D. Guaccero (2012) and he played in the first Italian performances for accordions quartet with AccoEnsemble (2012). He took part to the Nuova Consonanza Festival in 2011 playing for the first time some compositions by young Italian talents. He also performed for Freon Musica – Atlante Sonoro in 2012 and in “Motus Operandi in 2011. He has recently published “Trittico sopra i caratteri (2012)” for accordion solo, edited by Bèrben (Ancona).
Your way runs from production to studies. What’s your recent experience?
I think that today the most interesting think of Conservatory studies is the opportunity to attend courses and lessons abroad at Universities or Music Institutes of the same level inside UE. Think to Erasmus project… I’ve recently ended a period of study abroad and it has been fascinating to discover a new country, different in language and distant in kilometers but similar in other aspects. Finding diverse didactic approach, modus operandi and professional relationships has been very formative and has enriched me not only as a musician but also as a man.
What do you think about our present education system?
I think that, several years after the introduction of the accordion in Italian Conservatories and after the identification of these Institutes as highly formative Schools, the same opening made by junior schools, such as Italian High Schools of Music, is very positive. However a change in the didactic offer is necessary as well in order to define new programs of studies. This way, 8 years of studies have to prepare students to their admission to Conservatory giving them the right instruments to approach a new course without further debts to recover. I imagine a new literature right for this phase of studies in order to achieve and develop all technical aspects and the specialized language which characterize our higher concert repertoire, but still at a level of difficulty suitable course.
Not only Accordion… Why?
I’ve also attended courses of Composition and Orchestra Direction.Acquisitions and stimuli that are achieved, are now not only important elements of my store of knowledge, but often an input to search for new solutions on the instrument, from a technical point of view. All these aspects are useful to produce pieces for my instrument and for chamber music in general.
A very hard job for such a young man… What’s your thread?
Music has been walking with me since I was 6, filling my time and spaces. I’ve both cried and felt joy because of music and thanks to the music, but it has always been a mirror of myself in every single moment of my life. Always and with no filters… clearly. I hope to go on this way for the rest of my life, finding in music the mirror of myself.