A performing artist is a composer who creates what has been suggested to him, and forgetting what has been suggested. Being a performer I have therefore been led as a composer to think highly of the function of human gesture and their intimate relationship with music it where flowering of the human body in the wholeness.
In such context, the page written by the composer become a graphic representation of gestures which has been perceived and planned in order to translate mood in sound events capable of explain the music.
Extensive research and long experience as a guitarist, teacher and composer have enabled me to enrich my technique and develop this personal approach to teaching the instrument.
Furthermore, I created a performance method aimed not only at guitarists but at musicians in general, which can be named “Musical Biodynamics”: this interpretative technique, based on the psycho-physical relationship between tempo, pulse, breathing and gesture, increases awareness of the body and its natural emotional energies and attunes contact with the instrument in a more intimate and complete participation in the musical performance; it also facilitates spontaneous integration with the different situations occurring in theatres and concert halls, promoting a sensitive and harmonious relationship with the audience.
If on the one hand long personal and didactic practice of “Musical Biodynamics” had influenced the manner in which I perceived and performed music (now experienced as a “flowering” of the human body, in which gestures, rhythms and heartbeats, together with breathing, are integrated in a rich and constantly changing synthesis, generated by emotion and evolving feelings), this inner dimension had its effect on the way I writes music: thus atonal and twelve-tone roots were fused, as in a crucible, with the images/archetypes of many composers of any genres.
In my more recent and idiomatically free compositions, modality, melisma, tonality, atonality and serialism, with citations of many different styles, reappear in a language, in which these vestiges, transfigured in a dreamlike manner, surface as though from an undersea world.