Fabrizio explains why there will be always a compromise between composing and "music business". He tells why it is exciting to experiment and let the pure creativity thrive.

What does music mean to you personally?

Music is something always in my mind, in my thoughts, in my body. I can’t imagine (and I can’t remember either) a single day in my life so far without music being a part of it.

Do you agree that music is all about fantasy?

Fantasy is a big part for sure, but then you need to be creative to give shape to what you have imagined. But this is from a composer side perspective, I understand that.

If you were not a professional musician, would would you have been?

Well, I was an accountant before than being a professional musician, not so charming, huh? But in my “previous life” I had a degree in economics and so this is what I would probably be right now.

The classical music audience is getting old, are you worried about your future?

I am not worried at all, since what I compose is not strictly “classical”. I am composing a more mixed music, which certainly has some “classical” imprint but also mix contemporary sounds and soundscapes as well.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

It will all depends on how this new forms of “classical” music will be adopted both by public and by the strictly “classical” musicians. The fact that this neo-classical music gets more popular will surely benefits the traditional classical music, since someone maybe will be curious and will go deeper in discovering the great Classics. On the other hand, Classical musician and critics could welcome this new way of composing by giving it space in Music Academies.

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

First thing that come to my mind is the “Recomposed” album by Max Richter – an excellent way to mix contemporary taste with a great Classic.

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

Being a composer, creativity is everything and must be continuously supported. I couldn’t imagine composing music without pure creativity, the risk of being repetitive is too high.

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

Unfortunately I have no particular clever advice for this – is difficult enough to attract people to attend to concerts in general!

Tell us about your creative process. Do you have your favourite piece (written by you) How did you start working on it?

It always starts with the piano. And, mostly, it’s an improvisation that leads to a finished composition. Sometime it remains a piano solo piece, sometimes strings jumps in, or electronics start a dialogue with the piano itself.
I usually compose in my little studio and I immediately track it down being with a computer, with the iPhone or with a tape… whenever I have an inspiration I won’t let it go.

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?

I think they are a great way to give value to all this form of art! Music and poetry or music and cinematography are something I’ve worked in the past and I’ll continue to work in as long as I’ll be requested to.

Can you give some advice for young people who want to discover classical music for themselves?

Start with Bach – it all starts from there.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?

Well, I think that there will be always a compromise between what we are composing and how the “music business” will use our work. The best way to manage this is to keep control of our compositions, so that we can always chose what is the best solution.

Do you have expectations what regards your listeners, your audience?

As everyone of us, bringing our music live to an always increasing audience is what we aim for.

What projects are coming up? Do you experiment in your projects?

On May 12th I’ll be releasing my new studio work, “Secret Book”. This album is the result of more than 2 years of composing, experimenting and recording so I am quite excited about it.
I’ll be playing it wherever I can: I’ll start with Berlin on May 13th, then Milan is coming up on May 18th and then we’ll see what happens next.


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