Orchestral Music

The word Introitus, "entrance" refers to the opening of the celebration of the Roman Catholic Mass, specifically to the antiphon that is spoken or sung at the beginning of the celebration. In the musical idiom of Gregorian chant, the Introitus normally took the form of antiphon-verse-antiphon, and it was sung by two choirs.

A slow modal melody is presented at the beginning of the composition in the string section, interrelated by the brass. A transgressive rhythm takes us away from the heavenly beginning while elements of jazz will capture the modernity of the composition. However, this frantically ambiguous contrast, almost a provocation for the listener, it is nothing but the development of the slow introduction; the musical elements of the initial melody are expanded with composition techniques such as the fugue, countermelodies and anxious rhythms.

The under title, "An American Overture" was meant as a claim for the composer American experience - often his music is labeled as "Italian" when performed in the States and "American" when performed in Italy. The composition was commissioned by the "Filarmonica Marchigiana" Orchestra in Italy.

Introitus has two versions: chamber orchestra, and symphony orchestra.

The Mass is based on a joyful, syncopated rhythm. The melodic lines are beautiful, especially in the soprano and tenor solo parts. The choral part is very candid, following the traditional four-part writing. The orchestration is at times thick, relaying heavily on the percussion instruments. The intermezzo contrasts with the rest of the composition in the intricate contrapuntal writing for the divided string orchestra.

The composition is available in three different versions:

• Solos, Chorus, Piano and Percussions
• Solos, Chorus and Chamber Orchestra
• Solos, Chorus and Symphony Orchestra

The composition is dedicated to the memory of Massimo Archetti.

The Intermezzo is part of "Mass: a Celebration of Life". It is written for a double string orchestra. The intensity of the high violins in the beginning, the intricate counterpoint and the passion of the middle section leads the audience to a journey of deep meditation.

Jesi is an exciting little town along the Adriatic Coast of Central Italy. It is where I grew up, where I lived most of my life, and where my dearest friends still are. In September Jesi hosts an exhilarating festival called Le Fiere di San Settimio. For three days, a gigantic flee market invades every corner of the town, bands play up and down the streets, folk music groups perform local songs, choirs sing inside churches, and kids play in the streets.

Jesi in Festa tries to re-create that atmosphere. The composition is embedded with tunes I remember hearing during those festive days. In this composition, one can hear the Jesi Band roaming up and down the streets, the Regina Della Pace choir singing in the church, the Music Folk Group La Macina singing local songs, and if one is careful, he can even hear the street vendors trying to sell you something. Due to its complexity and to the juxtaposition of different themes and colors, I consider this composition a masterpiece of orchestration. A great addition to any orchestra concert.

The composition is dedicated to my daughter Alessandra who encouraged me to write it.

I.Lento - Allegro con Swing - Lento

II.Allegro Spiritoso

The first movement starts with a beautiful melody line, which soon moves into a driving and jazzy rhythm. A challenging cadenza based on double stops closes the first movement. The second movement has a Stravinskian mode, with sudden changes of moods and moments of folkloristic references of the composer Italian home town of Jesi.

The opera is a re-working of the tale of Lot, found in the Book of Genesis in the Old Testament. The tale of Lot and his family, while relatively brief in its original telling, reverberates in much of Western culture. It is used especially as a tale of caution, as Lot's wife defies the warning that she not look back on the city and life she is fleeing. No motivation is suggested as to why the wife looks back, nor is a reason given for Lot's daughters subsequent seduction of their drunken father.

One can hear the profound inspiration of the Italian operatic tradition born of early cultural experience, although the music is much influenced by an American education. The vocal lines of the five main characters and the chorus are quite demanding. The ranges explore the highest sonority in the sopranos, as well as the lowest in the basses. Strong and clashing dissonances are used to emphasize dramatic moments such as the transformation of the wife into a pillar of salt. The full orchestra can be considered another character of the opera, playing a central role in the development of the story.