Here are a few pieces that I have written since when I was an improbable composer until today, when I’m still an improbable composer. The order is kind of a mess. Many others exist but only these could be considered complete by my sensibility at each respective time. However, I’m not a professional composer and I don’t have any ambition in this. Also, I’m not composing anymore since a few years. I’ll be back at music one day, maybe.
aprile 2020
The idea of In Furia is to prove that free music production software is mature enough for creating artistic stuffs. It is written in memoriam of the Italian Liberation from Nazi-fascism. Multiple scenes are concatenated in the attempt of creating a narrative development and to experiment how distant categories can, in the end, be merged together. Sounds were created with Cecilia by Olivier Bélanger and remastered with Ardour. Images come from ProjectM presets. Everythin used is free software.
gennaio/febbraio 2018
This piece was written to experiment how a non-western pentatonic scale could be used in an string orchestra context. The basses continuously play the pentatonic scale. The first violin too are playing the pentatonic scale, but they play it once in the whole piece, with very long notes. Violas and second violins actually create the harmony. The instrumentation is completely targeted to the creation of silence.
ottobre 2015
I wrote the lamentazioni in honor of the lasts, the exploited, the slaves of capitalism. In other words, in honor of the humanity. It is a minimalist piece for classical guitar, written a few months after my degree in Classical Guitar. The improvisational component is fundamental.
ottobre 2013
This piece was written in occasion of the 2013 Lampedusa migrant shipwreck, in which more than 260 persons died. I still have the paper score, but I do not more have the digital files. I consider this piece as the better developed among my pieces for solo guitar. The lamentazioni were written in a diptych with this. The improvisational component is fundamental.
maggio/giugno 2018
Each year, I write a piece for the Italian Liberation from the Nazifascism (25th April) or for the International Workers Day (1st May). In 2018, I wrote this piece, by using an older chorale written for clarinets and using a modular structure, where each instrument has just one pattern and contue to repeat it, until they become completely alienated from theirself music and forget their role in the overall harmony.
2013, a Giacomo
This is not the best thing ever, but it was the first meaningful composition I wrote and I’m really attached to it. It was the final achievement after having studied the 3 voices counterpoint on the Schönberg manual. It is a virtuosistic counterpoint for three voices without instruments. Two voices are in inverse relationship, while the third one starts from the middle, arrives at the “end” and then comes back. The reason behind it was to invent something like a carillon for my new-born nephew Giacomo and, thus, the piece tends to be always the same but with some occasional variation, which opens the listener to new unexpected soundscapes.
2016
An italian folk song remade with early baroque counterpoint and electro-pop music in mind. The effect was awsome and I decided to load it on SoundCloud.
26th April 2019
ORCA is a very interesting project built with web-based technologies. It is a live-coding environment where each operator is represented by a glyph of the keyboard; each operator takes some input and creates some output. It can be used to control MIDI, OSC and anything else. Anyone can rewrite its own operator, since they are just simple javascript functions. This was the first complete live coding session with ORCA, realized to remember the Italian Liberation from Nazifascism.
Aprile 2016, a Giorgio
A ninna nanna for solo guitar written for my second nephew Giorgio. The (abused) form ABA consists in the opposition between a well-known lombard ninna nanna (B) and a suffused jazzy motif (A). The first part (A) takes advantages of the light guitar timbres, ending with a sweetly flavoured sentence. The central part (B) looks at the origins of the lombard music and is written in a strict rennaissance counterpoint.