Edition: VI
Bio/Studies
His music explores the dimension of time in all its aspects, until the most unknown. When writing a sound on a score, the very important question for him is not what does that sound itself represent – with its particularly pitch, intensity, way of being played, duration, phrasing – but how should that sound interact with time and be transformed by it – gradually changing its phrasing, duration, way of being played, intensity, pitch and finally its own features. But the perspective of time in his works is never linear, following a rather circular conception, in which it is impossible to identify a certain beginning or end. The music is often polarized on two opposing views of the same material, characterized by different gestures, both transforming themselves in a relationship that sometimes becomes hardly contrasting, sometimes reaches a point of quiet harmony, always under the mighty hand of time.
Career
Alessio Domini, born in 1991, graduated in Composition achieving Master of Arts degree cum laude and honorable mention at Conservatorium J. Tomadini in Udine (2015), where he studied with m° Mario Pagotto and m° Renato Miani. He is also graduated in Piano with honors (2011) in the same institute. He received the honorable mention of the jury in the Italian National Prix of Arts for his String Quartet, the third prize in the International Competition Maria Grazia Vivaldi in Montalto Ligure for the piece Sabbie (solo piano) and the honorable mention in the International Competition Mariani Pratella in Ravenna for Di pioggia dentro la terra (ensemble). He attended masterclasses with Stefano Gervasoni, Alberto Colla, Helmut Lachenmann. His compositions have been played in important locations such as Salzburg (Mozarteum), Tirana (Concert Hall of University of Arts), Bolzano (Sala Michelangeli), Ljubljana, for festivals such as Mittelfest, The Albanian Days Of Music, Udinecontemporanea, Amici della Musica and more. During the last two years he had written for Percussionisti della Scala and been recorded and broadcasted on ORF (Austrian radio-television) and on the Albanian National Television, while performing music of himself and of other contemporary composers. Some of his works have been published in two CD recordings, where he appears also as a performer. As a pianist, he got awards in National and International Competitions. He attended masterclasses with Riccardo Risaliti, Daniel Rivera, Bruno Campanella. He performed in Italy, Russia, Austria, Slovenia, Albania, playing both classical and contemporary music. He is a founding member of Ensemble Ouessant, strongly committed in the disclosure of music from the XX and XXI Century, and a member of the youth orchestra Filarmonici Friulani. He performs in duo with violinists Alessio Venier and Giovanni Di Lena.
Notes on the Musma Composition
After the Torchlight Red has been inspired by a portion of Eliot’s The Waste Land. The lines which the piece refers to describe a crude and apparently hopeless vision of the Christian Passion, in which the whole humanity seems to be involved. “After the torchlight red on sweaty faces / (…) / He who was living is now dead / We who were living are now dying / With a little patience”: there is something apocalyptic in these words, that resonate even more powerful if compared with the current slow collapse of ideals and values of Western democratic society. So the composition develops the ethereal Gregorian hymn Vexilla Regis in increasingly distorted shapes, through obsessive repetitions that lead it to its own destruction. But that is not the final point reached by the piece: the original theme rises from its ashes in a choral which sounds at once desolate and hopeful, with the same ambiguous taste of the last verse of Eliot’s quote, “With a little patience”.
