QUALIFICATION

Diploma accademico di I Livello (Afam) in Classical Trumpet
Diploma accademico di I Livello (Afam) in Composition

IN COURSE OF ATTENDANCE

Composition Master degree at Milano Conservatory with Gabriele Manca

Advanced composition course at Accademia di Santa Cecilia with Alessandro Solbiati

PROFESSIONAL EXPERIENCE

2024 Gaudeamus Festival, ensemble work Premiere in Utrecht

2024 IEMA season, ensemble work Premiere in Frankfurt 

2024 World Premiere at Trento EuroSax Congress

2024 ilSUONO Contemporary Music Week
2024 Academy for Contemporary Music HSLU
2023 Stockholm Chamber Brass Academy Composition Course (postponed to 2024)
2023 Time of Music Summer Academy Composition Course 2023 with Liza Lim
2023 June in Buffalo Festival for emerging composere

2023: Selected for Divertimento Ensemble Composition workshop for guitar

2023 Premiere at Splendor in Amsterdam with Melonta Collective

2023 Festival 5 Giornate di Milano with album release
2022 Winner of II prize ICIT 2022; INT-ACT Festival - TMAO
2022 Festival del Melologo di Como
2022: Selected for Divertimento Ensemble Composition workshop for percussion (with forthcoming work commission
and premiere)
2022: Selected for the course Analisi e composizione – Fondazione Piseri, held by G.C.Taccani (with forthcoming work
commission and premiere)
2022 Winner of II prize-chamber music of New Music Generation competition 2022
2022 Winner of DYCE call for composers 2022 and commission for a new Solo instrument piece
2022 INT-ACT Festival and TMAO 2022 (with work commission and premiere)
2022 Selected for reMusik.org 2022 (with work commission and premiere)
2022 Selected for Mixtur Festival 2022 (with work commission and premiere)
2022 Participation to Dante 2022-Sconfinarte with score publishing and album release
2022 Selected for Yarn Wire 2022 (not attended due to overlapping of commitments)
2022 Novalis concept 2022 (with work commission and premiere)
2022: Album release, commission from saxophonist Daniel Kientzy (with work commission and premiere)
2021: Winner of the IEMA Hans Zender Academy Frankfurt Callfor scores IEMA – (with work commission
and premiere)
2021: Selected for Divertimento Ensemble Composition workshop for prepared piano (with work commission and
premiere)
2021: Selected by Salvatore Sciarrino for his Masterclass with mdiEnsemble
2021: Selected for the Solo cello composition workshop held byFrancesco Dillon; "Rocca dei Bentivoglio"context;
2021: III prize (second non assigned) in the chamber music division at the "Concorso di Composizione Egidio Carella" -
Fondazione Val Tidone
2021: Selected for the Barcelona Modern Annual Composition Masterclass held by Francesco Filidei and Oscar
Bianchi (with work commission and premiere)
2021: I Prize "Giuseppe Cantone" ad the X International MusicCompetition AMIGDALA 

I move my first steps as a trumpeter, getting a classical trumpet degree in 2015 in the G. Verdi Conservatory of Milan, but at the same time I began to study composition and continued as a composer, getting my Bachelor Degree in 2021, always in Milan.

A brief period of studying lyric singing (3 years) gave me a clear perception of the problematic issue of writing for voice today, while the interest in the Jazz music as trumpeter gave me a knowledge of extended harmony.
Actually, I'm attending the composition Master at G. Verdi Conservatory in the class of Gabriele Manca and the advanced composition course at Accademia di Santa Cecilia in Rome with Alessandro Solbiati, but at the same time I’m taking part to a lot of professional experience, as IEMA 2021, Divertimento Ensemble workshop on prepared piano 2022, Rondò 2022, Rondò 2023, Rondò 2024(forthcoming) reMusik.org 2022, Novalis Concept Festival 2022, Mixtur Festival 2022, INT-ACT Festival and TMAO 2022 Prize, DYCE 2022, II prize-chamber music of New Music Generation competition 2022, Divertimento Ensemble workshop on percussion 2023, June in Buffalo 2023, Festival del Melologo di Como, Festival 5 Giornate di Milano, Time of Music Viitasaari Festival 2023, Stockholm Chamber Brass Academy Composition Course (forthcoming 2024), Salvatore Sciarrino Composition Masterclass with mdi ensemble (12/2021), Barcelona Modern Ensemble 2021, Workshop with Francesco Dillon (2021), with Michele Marco Rossi(2022), album release commissioned by with Daniel Kientzy (2022), album release with Edizioni Sconfinarte(2023),Egidio Carella composition Prize (2021), Giuseppe Cantone I prize (2021) and a lot of masterclasses held by Francesco Filidei, Liza Lim, Fabien Lévy, Dieter Ammann Oscar Bianchi, Dmitri Kourliandski, Francesca Verunelli, Unsuk Chin, Marco Stroppa, Klaus Lang, Alberto Posadas, George Benjamin, Vladimir Tarnopolski, David Nunez and many others.

My latest works are all united by research into three concepts of composing sound, structuring perception and managing actions:
1) The concept of polyphony of action, i.e., the simultaneous presence of several (three, four, five and even more) instrumental actions in a single instrument, which gives rise to a sound texture in which the sound of a single instrument reveals within it a multiplicity of related sound states. Understood in this sense, the sound emitted by a single instrument becomes not only unstable and unpredictable but becomes a collection of partial sounds that combine to form a multi-layered multi-sound. A multi-sound produced by several dynamic states within it, the result of several simultaneous gestural, manual, digital and emission activities. These activities can often conflict with each other, enhancing, annihilating, or giving rise to interference phenomena.
2) The relationship between continuity and discontinuity, under every parameter, and thus the questioning of what is meant by
timbral continuity (or discontinuity), but also what is meant by gestural or harmonic continuity, or what is meant by perceptual
continuity. Does discontinuity saturate time (making it heavier) better than continuity? Perhaps, but why? Are there techniques and
instrumental actions that have a profound continuity inherent in them, and others that unfold better in discontinuity? Is it possible to
make the listener's perception split and perceive continuity in discontinuity or vice versa? These are just a few of the innumerable
questions that arise when questioning this relationship.
3) A strong irrational and improvisational component in which the syntax is inhabited by gestures with often physical and obsessive
connotations. The formal structures I use are always very clear, even if within them they host hyper-layered sound and gestural
activities, in which paradoxically the intention of clarity for the listener is what guides the entire compositional process, despite the
complexity Clarity and complexity, involvement of the body, obsessive connotations, continuity in the macro-form but profound
discontinuity in the local and micro-form, are just some of the characteristics of my music, in constant confirmation and escape from itself.

4)Constancy understood as sonic property, as continuity over time perceptible by the ear in continuous and often obsessive instrumental gestures.

5)The concept of window texture as an interaction between different textures: how can several different textures coexist? Fortifying each other, canceling each other out or creating something different and surprising.

6)Mimesis between instruments (imitation as closely as possible), that is, “modifying” the instruments so that they sound as similar as possible despite being very different instruments.

7)The idea of sonic vocabulary as a set of ingredients to be combined to sculpt a complex but flavorful sound.

My music has been performed in Italy, Spain, Germany, France, Usa, Russia, Finland, Croatia, Netherlands, Switzerland and Thailand by IEMA Ensemble, Divertimento Ensemble, Riot Ensemble, The [Switch~ Ensemble], Barcelona Modern Ensemble, Dissolution Ensemble, Taceti Ensemble, Synchronos Ensemble, Vacuum Quartet, Glass Clouds Ensemble, Melonta Ensemble, AltreVoci Ensemble, Dissolution Ensemble, Daniel Kientzy, Francesco Dillon, Maria Grazia Bellocchio, Elio Marchesini and many others.

Next projects include:

- New chamber brass piece for the Stockholm Chamber Brass Academy,
- New flute piece for Laura Bersani
- New trio for RoadrunnerAcademy
- New trio for Forum junger Komponistinnen und Komponisten Bayerische Akademie der Schönen Künste

List of work

Chamber Music:
In ricerca di un’idea di stile – for Quintet – 2018
Esercizi di stile - for Quintet – 2019
Dai processi alla poetica – for string quartet - 2020
Dalla necessità al resto – for duo - 2020
Fermentation contrôlée – for quartet – 2020
Slittamenti – for quartet – 2020
Der Winter, nel silenzio empendosi – Lied - 2021
Water – for trio – 2022
Canto X, la Superbia….precipitando - for duo - 2022
Strappi svelano scorci – for sextet – 2022
Rips reveal glimpses – for septet – 2023
Rips reveal glimpses – revisited version for quintet – 2023
Di immagine in ambiente – for quartet - 2023
Strati di spazio – for quintet – 2023
Appartenendo a territori diversi – for trio – 2024
Orizzontalità tese – for quintet – 2024
Alla radice di un unico corpo – for saxophone quartet 2024

Solo instrument music:
Insieme opponendosi – for amplified cello - 2021
Intermittenze rituali – for prepared piano – 2022
Carta carbone – for amplified trumpet – 2022
Tra superfici incontrollabili - solo timpani – 2023
Binario di azione binaria - for amplified bassoon – 2023
Discorsivo – for guitar - 2024
Large ensemble music:
Materiali nell’istante e nel flusso; modi diversi per dire la stessa cosa – for eleven intruments - 2024

Orchestra Music:
Stati di transito - 2021