research and publications

Following my degree, I was encouraged by Enrico Fubini, the eminent pioneer of music aesthetics in Italy, to develop my reflections on the subject of my doctoral thesis: musical time in Debussy and its connections with Bergson’s philosophy (Tempo musicale in Debussy).

In the 1990s, thanks to my involvement in the music of the 20th century, I made an enquiry into aspects of the choral music of Igor Stravinsky and Olivier Messiaen, from both the analytical and historical points of view. For the journal La Cartellina, I wrote a series of articles on the repertoires of these two composers.

In 2009, I edited and presented the proceedings of the symposium “Maderna e l’Italia musicale degli anni ’40”, in collaboration with Gabriele Bonomo, for this publication I wrote the opening article, “Le ragioni di un ritorno a Verona di Bruno Maderna” (The reasons for Bruno Maderna’s return to Verona).

Publications

Tempo musicale in Debussy – Influssi bergsoniani e apertura verso una riflessione sul tempo nella musica, in Nuova Rivista Musicale Italiana, Rome: Nuova ERI, 1992

Tre cori per la chiesa russa – La maturazione della scrittura corale nella musica sacra di Stravinskji”, in La Cartellina, Milan: Suvini Zerboni, September 1992

Esperienza seriale e scrittura corale nell’anthem ‘The dove descending breaks the air’ di Stravinskij (su testo poetico di J. S. Eliot)”, in La Cartellina, Milan: Suvini Zerboni, September 1993.

Misticismo e magistero compositivo di Olivier Messiaen”, in La Cartellina, Milan: Suvini Zerboni, January 1993

Per una lettura dei Cinq Rechants di Messiaen”, in La Cartellina, Milan: Suvini Zerboni, January 1994

Maderna e l’Italia musicale degli anni ’40, Proceedings of the Symposium, Verona 10 October 2009, edited by Gabriele Bonomo and Fabio Zannoni, Milano; Fabio Zannoni, introductory article, “Le ragioni di un ritorno a Verona di Bruno Maderna”, ed. Suvini Zerboni, 2012

Programme notes and liner notes

I have written texts and studies on various repertoires in collaboration with the following musical institutions: the Teatro Regio of Turin, the Arena di Verona, the Accademia Filarmonica in Verona, the Regensburg Festival in Germany; and with the following record labels: Frequenz, Europa, Sipario, Stradivarius, Arts Music, Hyperion and Naxos.

Meetings, lectures, round tables

  • I was coordinator of the symposium “Maderna e l’Italia musicale degli anni ’40”, 10 October 2009, Auditorium Nuovo Montemezzi at the State Music Conservatoire of Verona where I presented the opening lecture: “Le ragioni per un ritorno a Verona di Bruno Maderna” (The reasons for Bruno Maderna’s return to Verona).

  • I also created, promoted and coordinated, within VeronaContemporanea, a series of meetings, lectures and round tables entrusted to scholars and artists of various tendencies. They included Franco Fabbri, Pietro Menarini, Ariel Toaff, Giordano Montecchi, Cristina Zavalloni, Staffan Mossenmark, Ilaria Berteletti, Leo Izzo, Emanuele Arciuli, Luigi Meneghelli, Mario Baroni, Rossana Dalmonte and Enzo Restagno.

  • In December 2015 I had a further opportunity to speak of the Maderna experience during a tribute to Maderna at the Museo del Novecento Milan during the Milano Festival, together with Gabriele Bonomo, Carlo Miotto and Roberto Fabbriciani, under the title “Bruno Maderna: gli anni ’40 e l’opera per flauto” (Bruno Maderna: the 1940s and the works for flute).

    Interviews on Italian radio

    On a number of occasions (on 12/04/09, 10/10/09, 24/03/2010, 19/11/10, 11/02/12 and 12/05/12) I have been interviewed on Italian national radio (during the programme “Radio 3 suite”) to speak of themes connected to VeronaContemporanea, both as creator and director of the festival and as stage director of certain productions.

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