How important is the choice of instrument? His, what cello is it?
The venue is important to me. In general, I always look for a place that predisposes to the listening. The theater is certainly my favorite, but I also feel very comfortable performing in unconventional places for the inspirations I usually get from. For example, outdoor places, such as mountains, old castles, rivers, lakes, and also photographic studios or old industrial buildings, they all are able to convey people’s stories into music.
Which record labels have you collaborated with and for which projects?
I collaborated with the Velut Luna, Concerto labels and I hope soon to be able to make a solo album with Limen and Orpheus. The lockdown has unfortunately postponed many projects that I hope to be able to resume them soon.
How did you approach the composition and what are the composers you consider as its main models?
I approached composition at age 18, after my eighth-year exam. I wanted to understand how composers managed to write their music. Counterpoint in particular fascinated me very much and I wanted to master it. I was good at harmony and I was very passionate about Daniele Zanettovich’s books on which I studied. I started privately with Maestro Mario Pagotto who immediately encouraged me. Afterwards, I continued my studies with Battista Pradal until the admission at the Conservatory of Trieste under the guidance of Fabio Nieder. Last September I signed a contract with Piero Ostali for his Sonzogno Music Publisher in Milan. I am inspired by composers from all eras and styles, such as Bach, Beethoven, Schumann, Strauss, Pink Floyd, Giovanni Sollima, and Ennio Morricone.
What are the expressive possibilities offered by electronics? How do the sounds generated by the fingers, wood, and strings of a traditional instrument interact with each other with a “synthetic” sound, conceptual like mathematics, born from a “non-instrument” designed by the mind?
Electronic music allows us to greatly expand performing possibilities in a very creative way. You can create polyphonies, harmonies, sound spaces, and colors very effectively. The contrast between the material nature of a classical instrument and the algorithm of digital software is a source of great inspiration for me. I think this is also a synthesis of our contemporaneity. I always try to find a good balance between the act of live playing and digital effects in order to avoid the feeling of something too artificial.
On the occasion of dramatic events, such as those that we have recently experienced during the pandemic, music must, according to her, constitute an escape from a reality of suffering, or must entice the listener to a reflection on the value and on the meaning of life?
Music, like all arts, is Beauty and we need it every day, especially in moments of despair and confusion like what we have recently experienced. Art, in general, played an essential role during this lockdown, there are countless initiatives and online participation in cultural events of every kind. Personally, I was the promoter of the very first live online music festival called “#AndràTuttoBene Online Music Festival”. An initiative that began on March 14 that offered every day a 15-minutes-long performance; an almost desperate act to respond to the silence created with the cancellation of all cultural activities. Today it seems that things are starting again and perhaps we have rediscovered the emotion of the live concert again.
What will be the next commitments pinned on your agenda? What are your dreams and plans for the future?
I will return to London in late August and in the meantime I will have several dates with a repertoire for solo cello, soloist with orchestra, and a project dedicated to cellist Josè Bragato, Friulian like me, conceived by my piano collaborator, Andrea Boscutti. My dream is to be able to play a lot of music, in many places, meeting people to collaborate with.
Thank you so much for your availability and good luck with your next dreams!