In 2009 the Arena di Verona Foundation entrusted me with the artistic direction of “Verona Contemporanea” (see web page 2010 – see schedule 2009), a festival of the music of today to which I gave the modified title VeronaContemporanea/Intersezioni, with the intention of expanding the contemporary aspect beyond the sole preserve of so-called ‘art music’. My idea was to capture, by adopting certain approaches and readings, the significance of certain connections between the musical worlds that traversed the 20th century. Hence it embraced the music of all the tendencies that have made a strong impact on our age, comprising the recent past and the present, and that have carried within them testimonies of a specific stylistic research: hence not only the music of the academic tradition, but also folk, jazz, rock e pop.
I maintained this position in the subsequent seasons of 2010 (see web page and schedule 2010) and 2011/12 (see web page and schedule 2011/12): the final season, as it turned out, given that the Arena di Verona decided to apply cuts and to abandon the project, at precisely the time in which the event had become a genuine festival, the VeronaContemporanea Festival .
In the 2009 season, after my friend and fellow founding member of the festival Carlo Miotto had rediscovered a score by Bruno Maderna long considered lost, we produced the first performance in modern times of Maderna’s Concerto per pianoforte on 10 October at the Teatro Filarmonico in Verona. Miotto himself conducted the Arena Orchestra and Aldo Orvieto was soloist. In this way VeronaContemporanea was included in the programme of the Accademia Filarmonica’s orchestral season (see schedule), which also featured important international orchestras and conductors such as the Saint Petersburg Philharmonic, the Accademia di Santa Cecilia, the Royal Concertgebouw, and conductors such as Yuri Terminakov and Daniel Harding.
Following this event I organized and chaired, on behalf of the Fondazione Arena and the Accademia Filarmonica, the symposium on “Maderna e l’Italia musicale degli anni ’40” (Maderna and music in Italy in the 1940s), with the valuable collaboration of Rossana Dalmonte and Mario Baroni, and the contribution of important Italian scholars and the Maderna Archivio of Bologna.
In 2012, with Gabriele Bonomo, I edited the proceedings of the symposium, which were published by Suvini Zerboni of Milan.
Following intensive promotional activity, aimed at reassessing the composer Bruno Maderna and giving him a more significant position in the history of 20th-century music, I presented for the English label Naxos the CD “Maderna piano music/Quadrivium”, with the live recording of the concert of VeronaContemporanea: an issue that was warmly welcomed by a large sector of the foreign musical press (Guardian, Music Web Review, Music Web International, American Record Guide, La Scena Musicale, Fanfare, David’s Review Corner, Gapplegate Classical-Modern Music, ConcertoNet.com, Ritmo, Record Geijutsu, L’Arena)