Explorer of sounds

My music purpose starts from spaces and lands not easily to explain by words because I don’t use systems or constructed structures. The way I use to create music is linked to sensations, moods and feelings…It’s intuitive music that grow up from free improvisation and in a second moment  worked out in several ways… Improvisation makes itself structure to create new relations into the sound. To target my purpose I play both “classic” instruments (like cello, violin, sax…) and “ethnic” instruments. I also play “sonorous stuff” – particularly metals – and great many instruments (keys, electric guitar, bass etc.). In this years I founded the ideal habitat ( I live in a house in the mountain chain called Appennini) and here I studied the use of the voice in my music tracks.

The centre of my musical work remain the “live” integration  between  acoustics and electronic sounds/instruments. A part occasionally collaborations, I always recorded music by my own. Different but very important was the meeting at Urbino in the 80s with experimental theatre (Urbino was the place I took the master in Philosophy with the dissertation “Music and mass media culture”) . Together actors and actresses I founded the AENIGMA theatre group, still active, for which I create and I performed on stage music in several shows, like: “La tortura della speranza” (with texts of Foucalt and Kafka); N.O.F.4 (inspirited by texts of  Nanetti Oreste Fernando, the author of graffiti on the wall of the psychiatric hospital, in which He was interned for his most part of life); “La vita è solo un ombra… Che passa sulla terra” (text from Clelia Marchi’s diary, an old farmer of Emilia-Romagna); “Fiabe africane” (children theatre); Now we are getting ready “Il pianeta invisibile” from the homonym novel of Paolo Volponi, a writer living in Urbino.

Moreover, I worked with the actor/director Stephan Shulberg (Living Theater), with him we represented the show “Archeologia della violenza” (with Atarassia theatre group too). One more important collaboration was with polish director Lech Raczack , the founder of “Osmego Dnia” group (Theatre of eighth day) for whom I composed three different music: “Rappresentazione de la vita de Santo Zohanne Bapista”, “La pietra e il dolore”, and “Cagliostro”.

These works are very important for me because in the experimental theatre the words don’t break on through the side of recitation: the actor is “a body in movement”. It’s a research that is based on  live improvisations, under the guide of director during the practice.

Another important element is the meeting with the members of audience that in theatre are very careful and quiet, they are without prejudice on the contrary of musical concerts. The theatre shows I mentioned before was represented in Italy, Poland, Germany, Hungary, Romania, France, Scotland, Greek and Morocco

The freedom of creative energy… the change/alteration of consciousness… The research of sounds that can translate the fascination of a vision… Visions of love and death… Natural visions, urban and violence-still long evil of human being… Visions of dreams, never done, but that now are getting life…

The dance of infinite spaces

The magic of sounds the sound of universe

The joy of music the invention

The charm of  noise the organization

The inside self-being  of voice the enigma of words

The mystery of life? Solitude/multitude? Ry being between many

The rhythm of body? The rhythm of earth? The land of rhythms

The deep of space

Melody/anmelody the imaginary

The extrapolation of sound it’s real if it can be

light or darkness

When something that desn’t exist now appear

In he huge cage of time

Necessity… Creation/transmitting

Of a stopped time toward infinity