+39 3401499843
@stefanopenazzi
He joined the conservatory of Verona in 2005 with M° Nicola Straffellini in the main composition class. After classical study, to sustain studies in engineering, he moved to Padua in 2012 under the teachings of M° Giovanni Bonato. In this period, several pieces have been performed as Agnus Dei for chorus and organ and Morchia for ensemble. In 2013, after graduation in Industrial engineering, he moved to Verona Conservatory where he won the first prize in the Banco Popolare composition competition with Parafrenie, for ensemble. In 2014 in Teatro Romano of Verona conducted by Andrea Battistoni a piece for string orchestra and solo flute, Tommaso Benciolini, was performed: Nostos. In 2015 he attempted a masterclass with M° Alberto Colla and several lessons that had a great influence on his style and aesthetic.
In 2017 he was finalist in the Eduard Mantzaros wind orchestra composition contest in Corfu, with the piece So Dynamic!. In 2019 he graduated in composition with top ranking notes. In September of the same year, the Quartetto Manfredi performed the litania for string quartet. In 2021 the piece Skyrocket rondo for orchestra took place in the Juvenilia summer festival in Verona. In 2021 he was finalist in the Eduardas Balsys contemporary composition music contest in Lithuania in the chamber music section, with the piece Magnolia enneigé, for violin cello and piano. In 2022 a piece for orchestra, Prometeo rescued, was performed in Paris, at the théâtre de l'athénée, under the direction of Jean-françois heisser by the Nouvelle Aquitaine orchestra. At the beginning of 2023, in the prestigious sala maffeiana in Verona, a piece named Trois tableaux d'auprès Da Ponte, was performed by the appassionata orchestra as opening for the orchestra season. The same year Sinai, for chamber ensemble, was interpreted by the NED ensemble in Verona during the Juvenilia summer event.
He currently lives in Barcelona.
Andrea Battistoni
Jean Baptiste Fonlupt
Eric Lacrouts
Aurelien Pascal
Orchestra of Nouvelle Aquitaine
With Jean-françois Heisser
Appassionata chamber orchestra
SCO Sydney contemporary orchestra
NED ensemble
Andrea Mannucci
In my music, I search for balance between polar-harmonic made relations, avant-garde formal approaches, orchestration extending techniques and thematic handling of musical material.
After the teachings of maestros Nicola Straffellini and Alberto Colla, I strongly believe in a nature-based structure of musical phenomenon. Sounds must entangle and combine themselves in a harmonic way. The logic of attraction between sounds as harmonic partial polarities is a physical evidence and reflection of the underlying foundation of many harmonical phenomena (not only sound related), forming the cosmos.
However, I also think that all historical evolutions of musical structures, from monodic chant to post-webernian serialism, must be included as an archetypical settlement in musical piece writing. Therefore, using scales and chords from a purely auditive tension-relaxation perspective, could give inner structural solidity to the music flow. We must not forget that music only flows in time, linearly, so structures such as similarities, melodic cellules and all the traditional inner genetic matrix of musical phenomenon cannot be set aside. This is the baseline for comprehension of a musical happening, in order to be understood by musicians and listeners.
Both of these pillars must be sustained by an orchestration able to underline and clarify the structure but in a perfect fit with the harmonic verticality. Extended techniques from the avant-garde conquests could help in that way: enlarge expression, sharpen pitch and magnify gesture as key roles in the score. I believe in using these techniques properly to define borders and perspective rather than per se, as a sensationalism and meaningless spectacle. Integration of these techniques with the traditional way of producing sound is my personal goal, to achieve a floating expressive and functional balance evolving in each piece. In this way the use of thematic cellules, rhythms or chords form a generating idea gives shape and meaning to all material. I deduce from a single “theme-cloud” all scales, chords and harmonic polarities of a piece, in a constant effort for coherence, holding onto the time flow of the music.
All of these characteristics give a clear traditional taste to each piece, enriched with a layer of glimmering complexity describing the overflowing contemporaneity of the over-input-environments we are living in.