or write to me to the following address:
Pietrzela Marco
Via 3 Ottobre n. 10b
63100
I will try and give an
answer to all of you and I will accept any criticism provided it is sensible
and goodminded.
Good navigation ……. ☺
Whoever should be interested
in joining the club (25 euros a year) or would like to donate to the club can
make use of the following current account:
Post Pay n° 4023 6004 1326 9681
He attended the secondary school at the Istituto Tecnico Agrario Statale (ITAS) in Ascoli Piceno where he got his GCSE in 1999.
On 2008 took a degree in Geological Science at the University of Camerino (MC).
He attended Hortus Musicus where he studied the flute under the guidance of Fabiani, Corradetti, Giannini and Santanché; later on he attended the CDMA (Centro didattico musicale ascolano), where he received lessons also of musical composition, and after that the Spontini Institute. He learned theory and solfeggio under the guidance of prof. Enrico Antonini.
He got a diploma in Harmony and in Theory and Solfeggio at the Istituto Statale Pareggiato "Briccialdi" in Terni and the diploma in flute at the Conservatorio "D'Annunzio" in Pescara.
He got a diploma in Story of music at the Conservatorio "G. Rossini" in Pesaro.
In 2005 he attended a perfectioning course with the prof. Sandro Carbone teacher to Pescara.
In 2006 he attended a Masterclass with the famous flautist Roberto Fabbriciani at the Conservatorio "Pergolesi" in Fermo (AP).
In 2006 has collaborated with the famous guitarist Giulio Tampalini for the realization of four musical fables with destination to young guitarists.
In the December 2006 he attended some Masterclass in Rome (in opportunity of the Falaut day) with the famous flautists Maxence Larrieu, Raffaele Trevisani, Andrea Oliva, Bruno Grossi and Francesco Loi.
In January 2007 he attended an 18-hours-course on "teaching music in primary school" in Verona.
In November 2007 he has played in the Basilica Papale S. Francesco in Assisi (Perugia).
In 2008 he attended a perfectioning course in Marina di Pietrasanta (Lucca) with the prof. Sandro Carbone teacher to Pescara.
He is a member of the SIAE as a composer transcriber melodist after passing the composition test in Ancona.
Now he receive lessons of musical composition under the guidance of prof. Giuliano Di Giuseppe.
He has founded a no-profit club with the aim of promoting the activity and achievements of the local artists who find it difficult to become known (see nsm club).
He performs his artistic activity "on the road", playing in pianobars, churches, at Weddings and with local musical groups (what can you find better than the true, direct, genuine touch with the public!!!). He also played in the stadium in S. Benedetto del Tronto in front of hundreds of people on the occasion of a Recovery Mass organized by P.Tardiff with a musical group from Recanati.
Finally he has published several books with the publisher Berben in Ancona, the GS Music in Rome, the Eurarte in Lecco and the ‘4 Elle edizioni musicali’ with whom he has also edited 2 musical CDs. He can boast of public executions of his own works among which the first were: Trio Op. 31 "dune" for 3 flutes and the Christmas Canons for flute and oboe (whose performance and public execution he cared personally and actively).
For DISCOGRAPHY: http://www.sibillinimusica.it/discografia.asp
For MORE INFO: http://www.myspace.com/sibillinimusica
Invariably, but more than ever this time,
finding myself before and among my hills moves me from the depth of myself. It
conjures up primeval images, such as a tree, a house, a vine, a path, an
evening, a bread, a fruit … which came to my consciousness in these places
and so, to see these trees, vines, paths ….again, arouses in me a sense of
extraordinary fantasy power, as if only now the absolute image of these things
sprang up in me, as if I were a child again, but a child bringing, in this
discovery, a richness of echoes, sensations, words, recollections, in a word
the wealth of a really unlimited fantasy. I have not been living thirty more
years to no use. Now this state of primeval virginity
I am enjoying, brings about distress in me, because I
know that my job is to change everything into poetry. Which
is not easy. The first idea was that what I have been writing up to now
are senseless things, drawn up according to standards… which have no taste of
such a tree, a house, a vine, a path…. as I know. Going the roads, I understood that quite
other words, other echoes, other fantasy, are needed.
In short, a myth is pre-requisite. Universal, fantastic myths are needed in
order to express profoundly and unforgettably this experience of mine, that is
my status in the world.
(Cesare Pavesi, Lettere 1924-1944)
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6 IMPROVVISI Op. 19 (publ. by Berben – 4577) these small pieces were well analysed by the magazine Falaut. They present a certain difficulty in the performance (with double and triple articulations, scales, octave shifts and swift passages) and are therefore suited to students who have passed the 7th year test. They are written in very particular tonalities with many alterations in the clefs: this makes them suitable for transposition. http://www.berben.it/ 6 IMPROVVISI Op. 20 (publ. by Berben – 5289) they are very similar to the 6 Improvvisi Op. 19 and written in the same style. Difficulties due to speed and octave shifts characterize the eight passages. There are passages for the study of the "frullato". http://www.berben.it/ 8 ATTIMI FUGGENTI Op. 32 (publ. by Berben – 4596) they are very similar to the 6 Improvvisi Op. 19 and written in the same style. Difficulties due to speed and octave shifts characterize the eight passages. A novelty in comparison with Op. 19 is introduces by two ensemble passages: one is a duet performed by two flutes (very difficult and complex) and another one for flute and piano (where the speed of the flute is opposed to the slackening movement of the piano … whose performance is not difficult). Also these pieces, like Op. 19, require a good and advanced skill. http://www.berben.it/ SOLO FLUTE COLLECTION (publ. by Berben –5106) includes an anthology of 17 pieces (many of which requiring different tempi): 15 for solo flute, one for two flutes and one for flute and piano. There are different degrees of difficulty, ranging from very challenging pieces to moderately easy ones. It can certainly accompany the flutist for several years in his/her study. Many of the pieces are also suitable as concerts since they can be agreable to listen to besides being study pieces. http://www.berben.it/ BAROQUE SUITE Op. 76/a (publ. by Berben –5108) including many tempi and requiring no very virtuosity. The "baroque" title is to show the way with which the flautist must face the composition. The composition is divided into 3 "pictures": hell, purgatory and heaven (on the poetic directions of the Divina Commedia of Dante Alighieri). http://www.berben.it/ HORTUS MUSICUS Op. 13 (publ. by Berben – 5104) a collection of 18 pieces two of which are duets for two flutes. The difficulty is not very high and sometimes they turn out to be rather easy, but in addition the pieces are very agreeable. There are many grace-notes and embellishments to be developed and therefore Op. 13 can be useful for the study of such figures. http://www.berben.it/ STUDI Op. 50 (publ. by Berben –5107) ; they are ten pieces of a certain difficulty with passages requiring a skill of 7th year students. The last piece is divided into three parts and is inspired by and imitated from Doppler’s fantasy Hongraise; it is recommended for public performances and concerts. http://www.berben.it/ |
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DUETS AND TRIOS COLLECTION (publ. by Berben – 5288); this collection for two and three flutes is very assorted. The difficulty is variable and some melodies are very poetic. http://www.berben.it/ TRIO Op. 31 “Dune” (publ. by Berben – 4772); this piece for three flutes is divided into two parts and is not difficult; it is therefore suited for young flutists. A good care is recommended in the performance of the triplets (which characterise the first part). His character is tendentially "modale". http://www.berben.it/ |
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6 FANTASIES Op.59 (publ. by Berben – 5385); these pieces for flute and piano are very interesting. They can be performed by students in the fourth / fifth year of study and the public performance is recommended.
http://www.berben.it/ TARANTELLE Op. 54 (The wind from the east – The compass card – Sea breeze) (publ. by Berben – 4877); these three pieces are not very long, but are characterised by a certain difficulty in the performance so that they are recommended to students who have passed the 5th year in their study. They are meant to be concert pieces and therefore are suitable for public performance. http://www.berben.it/ |
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WORKS FOR FLUTE AND GUITAR (publ. by Berben - 5599); in this collection there are 6 pieces for flute and guitar and there are different degrees of difficulty. http://www.berben.it/ PICCOLO FLUTE COLLECTION (for piccolo solo and piccolo and piano) (publ. by Berben - 5479); there are different degrees of difficulty, ranging from very challenging pieces to moderately easy ones. Many pieces are for piccolo solo and three pieces are for piccolo and piano. http://www.berben.it/ CHAMBER MUSIC WITH FLUTE (publ. by Berben - 5615); in this collection there are 13 pieces for flute and oboe, 2 flutes and oboe, flute and violin, flute and strings, flute-oboe and piano ecc..; there are different degrees of difficulty. (the pieces are: Piccola Musica Op.16b, 3 Meditazioni Natalizie Op.25a, Gavotta Op.29, 3 Gavotte Op.21, Sogno in una notte di luna piena Op.47b, Il Cimitero dimenticato sul colle Op.24, Ricordi Op.28, Quintetto Op.47a, Fantasia n.1 Op.22a) CONCERTINO Op. 62 (for flute, strings, and piano) (publ. by Berben – 4788); this piece lasts for about ten minutes and is not very complex from the point of view of performance. Following Vivaldi’s style, it consists of three particularly melodious tempi; it can be performed by students in the third / fourth year of study and the public performance is recommended. http://www.berben.it/ AVE MARIA (for voice, flute, and piano) (publ. by Eurarte - EA P0533); this liturgic piece lasts for about 3 or 4 minutes and is not very complex; the plot is interesting between the voice and the flute. www.eurarte.it/italiano.php FIABE DEL FOCOLARE (musical fables) (for guitar and two guitars) (publ. by Ed. Eurarte - P0686); 4 musical fables: three for solo giutar and one for two giutars. Only in Italian. www.eurarte.it/italiano.php PASTORALE Op. 27 “As if in a fairy story” (for flute and strings) (publ. by Berben – 4874); this pastoral piece lasts for about 4 or 5 minutes and is not very complex; therefore, like the concertino, it is suited for the performance by students in the third – fourth year of study. http://www.berben.it/ COLLECTION "LEAVES IN AUTUMN" (10 pieces: 8 for voice and piano, 1 for piano solo and 1 for acting voice and two flutes) (publ. by Ed. Berben - 5485); These musical passages are very various and interesting. The style is very melodic. http://www.berben.it/ NEVINA (musical fable) (for voice, strum. in do, guitar and piano) (publ. by Eurarte - EA P0521); this fable for children is very easy. The texts are of G.d' Errico. It has didactic aims. www.eurarte.it/italiano.php FUGUE Op. 69/a (for flute, two violins, viola and cello) (publ. by Berben – 4873); this particular "fugue" lasts for about 4 or 5 minutes and is not very difficult; therefore, like the concertino, it is suited for the performance by students in the third / fourth year of study. http://www.berben.it/ POEMA POPOLARE (POPULAR POEM) Op. 87 “Like a tempest wind” (for two flutes and strings) (publ. by Berben – 4875); this very original piece requires a very advanced skill and can be performed by students in the sixth/seventh year or by graduates. The general design is fantastic and therefore it can be susceptible to variations and improvisations. http://www.berben.it/ CONCERTINO Op.90 (for flute, strings and piano) (publ. by Berben – 5286); this very original piece requires a very advanced skill and can be performed by students in the sixth/seventh year or by graduates. The general design is fantastic and therefore it can be susceptible to variations and improvisations. The perfume is typical "vivaldiano". http://www.berben.it/ FANTASY Op. 95 "La macera della morte" (for two flutes and strings) (publ. by Berben – 5287); this very original and melodious piece requires a very advanced skill and can be performed by students in the sixth / seventh year or by graduates. It does not present a real structure and therefore it can be susceptible to variations and improvisations according to one’s ingenuity. The concept and the two flute relationship is: il first flute is the "eldest brother", and the second flute the "least brother". http://www.berben.it/ RONDO' FANTASTICO Op.49/a (for flute and strings) (publ. by Berben – 5539); this very original and melodious piece requires a good skill. http://www.berben.it/ ROMANZA Op.52 (Romance) (for two flutes and strings) (publ. by Berben – 4876); this very original and melodious piece requires a very advanced skill and can be performed by students in the seventh year or by graduates. It does not present a real structure and therefore it can be susceptible to variations and improvisations according to one’s ingenuity. http://www.berben.it/ IL DITO DEL DIAVOLO Op. 71 (for acting voice, flute, strings, harp, glockenspiel and piano) (publ. by Berben – 5105); its structure is based on one movement lasting 9 minutes. Very agreeable and melodious, it does not present great difficulty. It is suited to be listened to. It is a musical poetry and the texts are of Dona Amati. http://www.berben.it/ |
For orders and further information please apply to:
Edizioni Musicali Berben, Via Redipuglia,
n. 65 – 60122 ANCONA (AN).
Tel. 071/204428 – Fax 071/57414
Chamber music is often performed by
peculiar groups and teams. It goes without saying that mine is an attempt to
conciliate old and new tendencies, by referring to groups typical of the
Baroque and post-Baroque (see Cimarosa, Vivaldi, Boccherini, Telemann
ecc…) and by adding a good deal of
contemporary trends: see, for example, free and unusual forms and tonalities. I
love free interpretation; therefore there are no performing instructions since
I consider the contribution of the performer indispensable and imperative and
do not disdain variations, embellishments, and invention (… in the style of
jazz …).
Just to give you an idea of what I mean: let’s suppose that I built a
house by being both the architect and the bricklayer; now I leave this building
of mine to anyone who likes to live in it; it is now up to him to decorate,
furnish, and give colour to my work within the limits of the basic style
according to which it was conceived (I think this last remark to be of basic
importance: how ugly are the country houses furnished with plastic furniture
and various multicoloured sensational objects!!!)