I was born in Verona, where I spent the first 28 years of my life studying piano, philosophy and composition; a passion for contemporary music fosters my reputation of Village Fool, which hopefully will stick to me for a very long time.
In 2008 I attend Stefano Gervasoni’s class in Paris. From that moment on, my life is intensely tied to the french capital. After having spent a couple of years at Ircam and a few more figuring out where I was, since 2014 I’m working with Frédéric Durieux and Marc Battier within the framework of SACRe doctoral research. My project, concerning the physical movements of performers, should finish in 2017.
As to my relationship with music, I must confess that I have never been able to consider it as an object, even less as a tale. Rather I’ve always seen it as some sort of place, even better as an enigmatic map in a one-to-only-god-knows ratio, deliberately conceived in order to (mis)direct us through the boundless and unintelligible spaces that surround us – me and you, my reader (and listener too, I hope).
At the beginning of my path, I tried to make sense of the map with the help of some other texts (in words or music) – almost as if they were codes capable of unraveling its secrets and explaining its meaning. After having realized not only that my understanding had not grown, but also that I had played my part in making the whole thing much more complicated, I turned my attention to gestures, which have made (and make) the map what it is: a brain-teasing and often cruel riddle, but also one of the very few alternatives to the tyranny of the aforementioned spaces.
I’m currently working at a string quartet for Tana quartet, some piano pieces for Emanuele Torquati and a very! theatrical piece for Promenade Sauvage.