A composer writing nowadays can not ignore that most of the sounds animating our life are produced sintetically. My music is a reflection on the musical suggestions that surround us and a recall through the production of unknown sounds by traditional instruments, in constant search of abnormal emissions of sounds, touching an enchanting alea. "Ecological" music with a human touch therefore, gambling on unpredictability of every live musical performance, trying to force the acoustic instruments to find new sounds in order to express adequately our present. Perfect to reach this goal, obviously, is the large family of percussions, magical protagonist of most part of my compositions: instruments that can offer unpredictable halos and resonances.
I kept separate the catalog of INCIDENTAL MUSIC FOR THEATRE from that of COMPOSITIONS because it has been a joyful parallel adventure, looking for a higher communicability and at the service of the theatrical Plays. In this production, however, I have also been trying to add the salt of contemporaneity, never doing "historical fake": a kind of laboratory in which I tried to experiment my research attempts in homeopathic doses. I am deeply convinced that the present must reveal itself through works that express our new, changing life by a language updated and appropriate to our times. As T.S. Eliot wrote in Tradition and the individual talent (1920): "art never improves, but the material of art is never quite the same".