Sound design, editing and mastering: Giuseppe Scali

Graphic layout: Francesca Gambelli

Cover photo: Elena Tredici

Il lavoro che ha compiuto su ciascuno dei cento (!) pezzi, un lavoro meticoloso, approfondito, va persino al di là del “normale” ruolo di interprete. Ilaria ha portato a sé ciascun brano quasi divenendone co-compositrice, vivendo ogni nota, ogni sonorità, ogni dinamica, ogni gesto. Ogni brano, nella sua brevità, è stato vissuto come una piccola ma intensissima avventura, espressiva prima ancora che esecutiva: e di ogni brano la dimensione “didattica” è stata da ilaria totalmente trascesa, rendendo ognuno di questi “respiri musicali” un brano da concerto.

Alessandro Solbiati, dalle note di copertina del cd (vedi sotto)

La splendida qualità dell’interpretazione conferma in modo eloquente le osservazioni sul carattere non rinunciatario dello scopo didattico: Ilaria Baldaccini, che è solita cimentarsi con musiche assai più ardue, mantiene la stessa cura e lo stesso spirito di ricerca ed esalta in modo esemplare le qualità di concentrazione, varietà e invenzione dei cento piccoli pezzi.

Paolo Petazzi, Classic Voice, dalla recensione del cd Corde e martelletti valutato cd cinque stelle, n. 296 – gennaio 2024

È NATA una stella? Baldaccini è già nata da tempo come maga della tastiera eppure questa sua performance è la più rivelatrice. Adesso nessuno può più ignorare quanto brilla questa stella. Apertura con sorpresa. Alessandro Solbiati alle prese con un problema: come insegnare ai giovani allievi a suonare il pianoforte moderno, ipermoderno, contemporaneo, non più matronale, non più rispettabile ma oggetto di delizie iconoclaste? Nel 2018 pubblica una raccolta di cento piccoli pezzi per crescere al pianoforte. Baldaccini ne sceglie alcuni. Scopriamo la grazia e la spregiudicatezza. Giochi con lieve «preparazione», giochi sugli acuti brillanti/inquieti e sui bassi tenebrosi/tempestosi. Ma l’interprete contemporaneo non «suona» lo strumento, «ha a che fare» con lo strumento. Ecco allora un piccolo grido, un sospiro, un risolino, mentre scorrono direttamente sulla cordiera graziosi arpeggi e leggere percussioni. Solbiati grandissimo e la sua traduttrice in suoni, pure.

Mario Gamba, il manifesto, dalla recensione del concerto del 12 dicembre 2022 presso Nuova Consonanza – Roma, 16 dicembre 2022

Mancava l’incisione discografica e più in generale l’interesse di un pianista in grado di sublimare l’aspetto didattico e lavorare sui 100 pezzi con un’inclinazione interpretativa portata ai massimi livelli: la carenza è stata colmata da , che si è preoccupata di dare anima e profondità alle azioni prescritte da Solbiati. Tutto ha un senso e una direzione in Corde e Martelletti, luogo in cui Ilaria Baldaccini ha alzato il livello delle prospettive rendendo difficile ulteriori, possibili miglioramenti degli elementi che lo costituiscono. Se non è uno standard, poco ci manca.

Ettore Garzia, Percorsi musicali, dalla recensione del cd Corde e martelletti, 16 gennaio 2024

Corde e martelletti
A hundred short pieces for growing at the piano
by Alessandro Solbiati

The problem of the disconnect between the progression of 20th century musical thought and the very young aspiring musician, i.e. the absence or near absence of a contemporary music literature that is aware of the new languages and at the same time approachable also by a novice student, is increasingly evident. The consequence is serious: in practice, today’s music cannot be a natural part of a beginner’s path of growth.
Under the friendly and strong encouragement of pianist Maria Grazia Bellocchio, who, apart from her performing activities, is doing a great deal in the field of instrumental didactics that looks at today’s music, I decided to compose a vast series of very short piano pieces, one hundred pieces divided into three successive books, in which the world of gestures and figures proposed is unequivocally mine, without concessions or compromises, but keeping in mind that the players will be children.
These hundred pieces have an unattainable “grandfather”, Bartok’s Mikrokosmos, and an incomparable “father”, still ongoing, György Kurtág’s Játékok.
The title alludes to the fact that the piano is not only keys and hammers, but also strings. In fact, more: the whole instrument is a body of sound that will be investigated as a whole, by “dialoguing” with it.
Among the one hundred pieces, there are two basic categories: those that revisit the main categories of music and piano in a different way, playing “normally” on the keyboard (legato/staccato, speed of articulation, polyphony skills, dynamics, regular and irregular rhythms and rhythmic overlaps, use of the pedal and the other pedals, use of the register, ability to move the hands across the keyboard in the various registers, etc.); and those that investigate different sonorities: the multiple use of the string board, string preparations, the percussion of other parts of the piano’s “body”, objects with which to “make the instrument resonate” and so on. The two “categories” can then naturally be mixed.
Each piece has an allusive title, because the evocation of an image, of an extra-musical element to which the character of the piece can be referred, ever since the time of Schumann’s Album für die Jugend, greatly helps the young performer to come into intuitive contact with the music proposed by the piece.
Many of the titles (and pieces) have a conspicuous smiling and playful twist, since it is essential to restore a playful relationship with today’s music, which is all too often considered eternally forbidding, serious and intellectual: it is very important not to take oneself too seriously…
In these volumes, I have added a brief comment to each piece, aimed at explaining the imaginative and technical motivations underlying that composition.
Composing these pieces was a moment of growth for me: in fact, I was forced each time to arrive at the extreme synthesis of my vision, at what is essential, to use the minimum indispensable tools so as not to compromise my idea, while at the same time catering for the imagination, the technical skills and above all the amazement of the young musician, trying to arouse his or her curiosity and desire to play with the instrument.

However, I cannot end this presentation without an emotional and deeply felt thank you to Ilaria Baldaccini and a comment on what she has achieved. The work she has done on each of the one hundred (!) pieces, a meticulous, thorough job that lasted months and months, goes even beyond the “normal” role of the performer. Ilaria made each piece her own, almost becoming a joint composer, living each note, each sonority, each dynamic, each gesture, not feeling satisfied even when… it was the composer himself who told her that it was just fine.
And this is because each piece, in its brevity, was experienced as a small but very intense adventure, privileging the expressive over the performing aspect: and in each piece the “didactic” dimension, while obviously important, was totally transcended by Ilaria, making each of these “musical morsels” a concert piece.
Thank you so much, Ilaria!

Corde e martelletti: a didactic work or concert pieces?
by Ilaria Baldaccini

Corde e martelletti was conceived with the young and very young in mind, aimed at bringing them closer to the piano as a sonic body in its entirety, intriguing and exciting them, introducing them to contemporary art music. Each of the one hundred short pieces (except for the last, the only one written for piano duo) is contained in the space of a single page and lasts from between twenty seconds and a minute and a half (with few exceptions), the titles are engaging and the composer’s comments accompanying each piece help the young pianist to orientate him/herself in its performance and interpretation. Play is one of the elements that Alessandro Solbiati draws on in presenting us with this lengthy work, and there is no doubt that handling all the objects needed to produce the required sounds will be a source of fun and investigation of the instrument, of curiosity and discovery, of awe and wonder. And yet there is more to the work than just this. Corde e martelletti cannot be regarded merely as a didactic work, because the extreme variety of the pieces, the plurality of sounds brought into play, the multiplicity of character, and the vibrant and compelling manner in which the pieces follow each other, determined by their brevity, result in a very interesting listening experience that is also intended for a concert audience. The rhythmic precision that is often required, the expressive depth, and the technical and interpretative skills required are such that in the hands of an experienced pianist each piece can undoubtedly assume a more complete and satisfying form. It is true that this could be said for any piece written and conceived for teaching purposes, but in this case, the density of the compositional writing, the daring language and the audacity with which the performer is asked to coordinate both hands, often shared between the keyboard and the string board, and to become involved also from an expressive-theatrical point of view, makes it a work not only intended for children or young pianists. To relegate these one hundred small pieces solely to the educational sphere would at the very least be a great pity, to think of them only from that point of view would be reductive and would have the effect of diminishing a work that has a much broader scope. Contemporary music, often described – even by audiences who habitually frequent the concert halls – as difficult to follow and at times incomprehensible, has a natural continuity with the great music of the past. A collection such as this can succeed in introducing more complex listening because it successfully balances brevity and astonishment, laconicity and enchantment, surprise and vigour, emphasis and playfulness. Given that play, the fun dimension, is evoked by Alessandro Solbiati, and since children are the primary dedicatees of this work, since we can identify young students as those responsible for the genesis of this long sequence of compositions, let me now address them and go into more detail about this recording of mine.

To all the children and young people that will play with Corde e martelletti
by Ilaria Baldaccini

Music is a wonderful game of interweaving sounds and nobody knows how important it is to play with passion and seriousness better than children! Indeed, Alessandro Solbiati’s dedication on the three volumes of Corde e martelletti is to Gabriele and Lea, his beloved grandchildren, and to all children. To his dedication I add my own and, besides, a few notes about this recording that may help you understand why I talk about playing a game rather than simply playing music and why this long work is something you can also have fun with.

Dear children, to play these one hundred short pieces you really have to use every part of the piano: the keyboard alone (obviously!…), the strings … alone, the wood, the cast iron frame. The strings, wood and cast iron. Then the keyboard and wood. Things start to get interesting! I’ll go on: the keyboard and strings, the keyboard and voice! I’ll go on even more: the keyboard alone, but with prepared strings! Meaning what?! Meaning that you have to use lots of patafix or blu-tack (a mouldable sticky paste), metal chains, coins, glasses, pieces of inner tube, rubber balls, heavy cloths and various other objects. I’ll give you some examples. In numbers 67 and 68 Alessandro Solbiati asks for one-cent coins to be inserted between the strings of four notes in the middle register in order to obtain the sound of bells (they are difficult to fit, but the perfect size!). In number 77, to produce the wailing effect, it is necessary to rub a bottle neck, a small metal cylinder frequently used by guitarists, along the strings. The muffled, irregular trills and flutters of number 78 are produced by placing a heavy cloth on the string board in the middle range. In number 86, the squeaky door evoked in the title is a metal ruler rubbed across the lower strings, and the unexpected and terrifying dramatic stroke at the end requires the presence of small metal plates on the strings in the medium-high zones, which I have replaced with rather heavy and flashy necklaces and earrings that I often wear! And still on the subject of vanity trinkets, for number 88 as well as 31, in which a metal chain is required to be placed over the strings, I chose a lovely string of light, resonant… and elegant white pearls! To perform number 39 you have to look for a bicycle with a punctured tyre, cut off a piece of inner tube, roll it up and rub it along the strings to hear sounds so shrill you’ll plug your ears! And as if that wasn’t enough, you need a glass (a small glass, I used one I usually drink limoncello with) to move with more or less pressure inside the string board. To play 49 I stole a glove from an accordionist very dear to me and… voila!… my arms slide better on the keyboard. In 56 I really enjoyed screaming, being amazed, feeling disappointed, desperate!!! …but then relieved and cheerful! And in number 62 I became a percussionist. The same goes for number 17, a very fun dance without notes. While in 62 the strings are stopped (as happens in many other pieces in the collection, e.g. the marvellous 22, 23, 24 and 61), number 17 is realised entirely by tapping with your nail or knuckle on the free strings, on the wood and the cast iron. In other cases, as at the beginning of number 99, the percussion is made using timpani mallets; at other times by beating on the edge of the instrument, as in numbers 47 and 90. And number 64? A nonsensical tongue-twister in a speaking voice recorded while recovering from a bad bout of flu. The timbre of my voice lowered, it became darker. So I decided to have a go at number 64 (and not only this one) and I was convinced! As they say, not all bad things are without something good! For number 65, on the other hand, take a small hard rubber ball, one of those fantastic ones I used to love as a child because they bounce so high, and attach it to a knitting needle (you can ask your mum…er…maybe your granny…do mums and grannies still knit?!…). Like that you will create a fascinating resonance from which well-known melodies will emerge.
There are several pieces where Alessandro Solbiati mentions composers of the past or pays a tribute to them. In addition to 65, just mentioned, numbers 46, 74, 80 and 84 are other examples. In general, it is important to become familiar with the sostenuto pedal, the central pedal of the grand piano, so little used in the traditional repertoire and yet so useful here! Also, try pressing the sustain pedal and placing a finger on several points of the strings connected to a single key: what happens? You will hear harmonics. It will be an amazing discovery. You can try this out this when studying, for example, number 48 or 72, which are two of many pieces of calm, poetry and extreme sweetness. Other such examples are numbers 13, 18, 24, 32, 35, 43, 45, 48, 51, 63 and 91, contrasting with the energy of numbers 41, 79 and 50, to name but a few, and the explosive dynamic force of numbers 28 and 85. It is important to learn to coordinate your two hands, often shared between the keyboard and string board, as in number 92 (one of the darkest and most mysterious in the collection), 38 or 54. In other cases, everything takes place entirely in the string board, as in numbers 16, 57, 71 and 96. Also common is the use of the full range of the keyboard, which in several cases is very amusing and captivating, like numbers 14 and 15, where the composer creates two opposing characters: one bad and one good. In 14 the good guy’s voice, warm and patient, is entrusted to the bass and the bad guy, ill-tempered and shrill, to the treble. In 15, the good, sweet and reassuring character is expressed in high notes; the bad is entrusted to the bass and has a disturbing and frightening personality! Just a few more words about number 100. Maestro Solbiati delivers a warning: never forget the importance of playing together with others. And so, after ninety-nine pieces, he adds one, consisting of eight sections, to be performed by four hands. My keyboard partner was the wonderful pianist and friend Emanuela Piemonti and we recorded it on a cold day with clear skies, after a good meal of sharing and laughter.
Enjoy yourselves, children. Be curious, always. Explore, experiment. Listen to yourselves, to the others, to everything that surrounds you, wherever you might be. If you let yourself be drawn into the study of these three beautiful volumes and more, if you enter the magical world of contemporary art music, you could become a serial collector: every object can in fact be used to obtain a wonderful or, in the worst case scenario, interesting and new sound that has never been imagined. In the words of John Cage, who based his reflections on music on the assumption that everything is sound: «People may leave my concerts thinking they have heard noise, but will then hear unsuspected beauty in their everyday life». So play the games, make music, have fun and be happy!

 

I sincerely thank Alessandro Solbiati for the constant exchange of impressions and ideas he had with me during the recording of these hundred pieces, making this experience even more special and important. I thank Emanuela Piemonti for her precious collaboration. I dedicate this work to Francesco, my strength, my support, my everything.

LIBRO I

n. 1 Campane a festa 0:32
n. 2 Scioglilingua 1a “Terrazze” 0:26
n. 3 Scioglilingua 1b “Il cerchio” 0:20
n. 4 Spilli (vicini e lontani) 0:26
n. 5 Scioglilingua 1c “Il filo rosso che canta” 0:39
n. 6 Ritrovandosi nella nebbia 1:09
n. 7 Il chiodo fisso 0:23
n. 8 Campane che vanno, campane che vengono 0:38
n. 9 La minaccia 0:36
n. 10 Scioglilingua 2°a, b, c “Il vortice” 0:43
n. 11 Corale con riverberi 0:53
n. 12 Fischiettando … una serie! 0:38
n. 13 Il canto abbraccia la tastiera 1:20
n. 14 Acuto/Grave – Cattivo/Buono 1:01
n. 15 Acuto/Grave – Buono/Cattivo 0:36
n. 16 Invenzione sulle corde 1:28
n. 17 Danza senza note 0:22
n. 18 Ipnotico… 0:51
n. 19 Salita con incontri 0:51
n. 20 Canta! 0:47
n. 21 Conta! 0:41
Tre atmosfere a corde stoppate:
n. 22 I – Moody 0:39
n. 23 II – Jazzy! 0:28
n. 24 III – Sweetly 1:03
n. 25 Fortissimo/Pianissimo 0:41
n. 26 Aube (variazione di “Corale con riverberi”) 1:07
n. 27 Mosquitos 0:31
n. 28 Centrifugo 0:49
n. 29 L’ossessione risolta 0:48
n. 30 Meccanico 0:41
n. 31 Il mio primo…clavicembalo! 0:49
n. 32 Notturno (omaggio a B.B.) 1:43
n. 33 Passacaglia 1:19

n. 1
Campane a festa
0:32

n. 2
Scioglilingua 1a “Terrazze”
0:26

n. 3
Scioglilingua 1b “Il cerchio”
0:20

n. 4
Spilli (vicini e lontani)
0:26

n. 5
Scioglilingua 1c “Il filo rosso che canta”
0:39

n. 6
Ritrovandosi nella nebbia
1:09

n. 7
Il chiodo fisso
0:23

n. 8
Campane che vanno, campane che vengono
0:38

n. 9
La minaccia
0:36

n. 10
Scioglilingua 2°a, b, c “Il vortice”
0:43

n. 11
Corale con riverberi
0:53

n. 12
Fischiettando … una serie!
0:38

n. 13
Il canto abbraccia la tastiera
1:20

n. 14
Acuto/Grave – Cattivo/Buono
1:01

n. 15
Acuto/Grave – Buono/Cattivo
0:36

n. 16
Invenzione sulle corde
1:28

n. 17
Danza senza note
0:22

n. 18
Ipnotico…
0:51

n. 19
Salita con incontri
0:51

n. 20
Canta!
0:47

n. 21
Conta!
0:41

Tre atmosfere a corde stoppate:

n. 22
I – Moody
0:39

n. 23
II – Jazzy!
0:28

n. 24
III – Sweetly
1:03

n. 25
Fortissimo/Pianissimo
0:41

n. 26
Aube (variazione di “Corale con riverberi”)
1:07

n. 27
Mosquitos
0:31

n. 28
Centrifugo
0:49

n. 29
L’ossessione risolta
0:48

n. 30
Meccanico
0:41

n. 31
Il mio primo…clavicembalo!
0:49

n. 32
Notturno (omaggio a B.B.)
1:43

n. 33
Passacaglia
1:19

LIBRO II

n. 34 Si apre il sipario! 0:36
n. 35 Il canto disperso 1:50
n. 36 Piccola pantomima 1:00
n. 37 Vortici 0:43
n. 38 Cristallino 0:50
n. 39 Misterioso 1:31
n. 40 Monotòno 0:52
n. 41 Vivace 0:57
n. 42 La piuma (…pensando a Forrest Gump…) 1:06
n. 43 Eco I (da Interludio n. 2) 1:08
n. 44 Attrazione fatale (ringraziando G.B. e L.B.) 0:48
n. 45 Tre voci dialogano in canone 1:32
n. 46 In trasparenza (omaggio a Johannes Brahms) 0:40
n. 47 Bussando…(Hoquetus) 0:37
n. 48 Rituale 1:56
n. 49 Angeli 1:06
n. 50 Riccioli (Buon compleanno!) 0:37
n. 51 Eco II (da Interludio n. 10) 2:04
n. 52 Nero 0:39
n. 53 Incroci 0:49
n. 54 Arpa e violoncello 1:21
n. 55 Una linea o due? 1:26
n. 56 Cartoon! 1:14
n. 57 Scivolando … 1:12
n. 58 Danza 0:54
n. 59 Autoritario … punito! 0:57
n. 60 Corale vibrante 1:32
n. 61 Prigione e fuga 1:17
n. 62 Grancasse, legnetti e rototoms (pensando a Gustav…) 1:05
n. 63 Incanto 1:36
n. 64 Voce v[el]oce 0:43
n. 65 Da lontano 2:23
n. 66 Variazioni su una risonanza 1:08

n. 34
Si apre il sipario!
0:36

n. 35
Il canto disperso
1:50

n. 36
Piccola pantomima
1:00

n. 37
Vortici
0:43

n. 38
Cristallino
0:50

n. 39
Misterioso
1:31

n. 40
Monotòno
0:52

n. 41
Vivace
0:57

n. 42
La piuma (…pensando a Forrest Gump…)
1:06

n. 43
Eco I (da Interludio n. 2)
1:08

n. 44
Attrazione fatale (ringraziando G.B. e L.B.)
0:48

n. 45
Tre voci dialogano in canone
1:32

n. 46
In trasparenza (omaggio a Johannes Brahms)
0:40

n. 47
Bussando…(Hoquetus)
0:37

n. 48
Rituale
1:56

n. 49
Angeli
1:06

n. 50
Riccioli (Buon compleanno!)
0:37

n. 51
Eco II (da Interludio n. 10)
2:04

n. 52
Nero
0:39

n. 53
Incroci
0:49

n. 54
Arpa e violoncello
1:21

n. 55
Una linea o due?
1:26

n. 56
Cartoon!
1:14

n. 57
Scivolando …
1:12

n. 58
Danza
0:54

n. 59
Autoritario … punito!
0:57

n. 60
Corale vibrante
1:32

n. 61
Prigione e fuga
1:17

n. 62
Grancasse, legnetti e rototoms (pensando a Gustav…)
1:05

n. 63
Incanto
1:36

n. 64
Voce v[el]oce
0:43

n. 65
Da lontano
2:23

n. 66
Variazioni su una risonanza
1:08

LIBRO III

n. 67 Sveliamo le campane 1:12
n. 68 Jeux de cloches 1:31
n. 69 Lo specchio deformante 1:37
n. 70 Due canti si spingono lontano… 0:56
n. 71 Corde 1:35
n. 72 Senza tempo, en rêve 1:29
n. 73 Vicino/Lontano 0:45
n. 74 Big Bach 0:46
n. 75 Orologi pazzi 1:05
n. 76 Un canto, un’aura e varie simmetrie 1:56
n. 77 Ruinas 1:04
n. 78 Trilli e guizzi 1:19
Trittico di triadi (piccola sonata):
n. 79 I movimento: con forza 1:07
n. 80 II movimento: religioso 1:36
n. 81 III movimento: presto, cadenza 1:02
n. 82 Estremi in evidenza alternata e…un cuore 1:05
n. 83 Nostalgia 1:15
n. 84 Lame di Bach 1:14
n. 85 Crescendo meccanico 0:51
n. 86 Non aprite quella porta! 1:33
n. 87 La risata contagiosa 0:58
n. 88 Variazioni sulla leggerezza 1:26
n. 89 Onde con relitti 1:16
n. 90 Ho un ritmo in testa… 0:55
n. 91 Feuilles mortes 2:02
n. 92 Risonanze oscure 0:59
n. 93 Sisifo 0:53
n. 94 Zapping clap 0:59
n. 95 Mandolino 1:25
n. 96 Organum (rilettura di “Mandolino”) 1:20
n. 97 Fuga [tra i tasti…] 1:03
n. 98 Ad lucem (eco risolta di XII Interludio) 1:08
n. 99 Encore! (Introduzione e cadenza) 1:52
n. 100 Otto variazioni concentriche per pianoforte a quattro mani (Ilaria Baldaccini con Emanuela Piemonti) 3:27

n. 67
Sveliamo le campane
1:12

n. 68
Jeux de cloches
1:31

n. 69
Lo specchio deformante
1:37

n. 70
Due canti si spingono lontano…
0:56

n. 71
Corde
1:35

n. 72
Senza tempo, en rêve
1:29

n. 73
Vicino/Lontano
0:45

n. 74
Big Bach
0:46

n. 75
Orologi pazzi
1:05

n. 76
Un canto, un’aura e varie simmetrie
1:56

n. 77
Ruinas
1:04

n. 78
Trilli e guizzi
1:19

Trittico di triadi (piccola sonata):

n. 79
I movimento: con forza
1:07

n. 80
II movimento: religioso
1:36

n. 81
III movimento: presto, cadenza
1:02

n. 82
Estremi in evidenza alternata e…un cuore
1:05

n. 83
Nostalgia
1:15

n. 84
Lame di Bach
1:14

n. 85
Crescendo meccanico
0:51

n. 86
Non aprite quella porta!
1:33

n. 87
La risata contagiosa
0:58

n. 88
Variazioni sulla leggerezza
1:26

n. 89
Onde con relitti
1:16

n. 90
Ho un ritmo in testa…
0:55

n. 91
Feuilles mortes
2:02

n. 92
Risonanze oscure
0:59

n. 93
Sisifo
0:53

n. 94
Zapping clap
0:59

n. 95
Mandolino
1:25

n. 96
Organum (rilettura di “Mandolino”)
1:20

n. 97
Fuga [tra i tasti…]
1:03

n. 98
Ad lucem (eco risolta di XII Interludio)
1:08

n. 99
Encore! (Introduzione e cadenza)
1:52

n. 100
Otto variazioni concentriche per pianoforte a quattro mani (Ilaria Baldaccini con Emanuela Piemonti)
3:27

Alessandro Solbiati,
Born in Busto Arsizio in 1956, Alessandro Solbiati obtained diplomas in both Piano (with Eli Perrotta) and composition (with Sandro Gorli) from the Milan Conservatoire. At the same time he studied with Franco Donatoni at the Accademia Chigiana in Siena for four years (1977-80). In the early 1980s he won various national and international competitions and, over the last 30 years has received commissions from the most important Italian and European institutions. Furthermore his music can be heard in the main festivals and many European and American radio stations and has been recorded, on CDs and DVDs by the labels Stradivarius, Decca, EmaVinci Records, Bis Records, Tactus, etc. 
His first opera “Il carro e i canti “, by Puŝkin, was commissioned by the Teatro Verdi of Trieste for its opera season 2008- 09. The second one, Leggenda, was staged for the Teatro Regio of Turin in September 2011, conducted by Gianandrea Noseda. The third opera, Il suono giallo, from texts of Kandinskij, ( Teatro Comunale di Bologna 2015), conducted by Marco Angius, has received in April 2016 the Premio Abbiati  of Italian Musical Critics as “best first performance in Italy in 2015”.
From 1995 to 2023 he has been Professor of Fugue and Composition at the Conservatorio “G.Verdi” in Milan, after having fulfilled the same role at the Conservatorio in Bologna between 1982 and 1994. Starting from November 2023 he’s going to teach Composition at the Master Courses of Academy of Santa Cecilia in Rome. His music is published since 45 years by Suvini Zerboni of Milano.

Ilaria Baldaccini, pianist and harpsichordist, piano pupil of Maria Gloria Belli and Giovanni Carmassi, harpsichord pupil of Annaberta Conti and Gordon Murray (with whom she studied at the University for Music and Performing Arts in Vienna), plays mainly as a soloist, alternating Baroque, Classical and Contemporary repertoires. She collaborates with many composers on the current music scene and carries out constant research on the historical 20th century piano literature that is little known or unpublished. She has released many recordings for EmaVinci Records, three of which focus on personal research into the piano output of composers from the school of Roberto Lupi and Luigi Dallapiccola. Her recordings and recitals have received wide acclaim from the public and critics, who portray her as one of the most interesting Italian pianists, sophisticated and of great interpretative skill, characterised by a great sensitivity to sound, always the result of deep inner delving

Emanuela Piemonti began studying the piano at the age of four under the guidance of her mother and subsequently studied at the Milan Conservatoire with Anita Porrini and Alberto Mozzati, obtaining her Diploma in 1980 with maximum marks.  At the Scuola di Fiesole, for several years she attended the courses given by Dario De Rosa, a constant point of reference, Piero Farulli, Amedeo Baldovino, Renato Zanettovich, Maureen Jones, Norbert Brainin and Valentin Berlinskij. In 1982 she founded the Trio Matisse, with whom, in the following years, she won the international prizes: Vittorio Gui of Florence, Atkinson of Milan and Città di Torino, arriving in the final of the Melbourne Chamber Music Competition. She has played in the most famous Italian Societies and Halls, made tours in Germany, Spain, France, Portugal, Israel, Australia and China and collaborated with many composers including Kagel, de Pablo, Sciarrino, Kurtág, Francesconi, Fedele and Solbiati. She has recorded for the labels Aura, Amadeus, EmaVinci, Limenmusic, Stradivarius and, for the label Naxos, the two Triple Concertoes by Casella and Ghedini, CD which won the Prize “Choc de Classica” for the French review Classica Magazine. She is professor of Chamber Music at the Conservatorio “G.Verdi” di Milano and considers teaching as important and exciting as performing.