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 consedered complete by my sensibility at each respective time.
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.
Lamentazioni Per La classe Dominata
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.
Deplorazioni Su Un Naufragio Di Migranti
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.
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.
Canone Inverso A Tre Voci
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.
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.
Experimental Live Coding Session (ORCA)
26th April 2019
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.