Rossano Pinelli talks about why we should carefully listen to music pieces and why communication with the audience is the main purpose for a composer

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What does music mean to you personally?

Music, for me, means the research of the Truth. When I listen to the best composers I always feel the truth, and this should be the mean purpose of a Composer. Music is also a discipline that allow reaching unconscious worlds, worlds that words can’t nor express neither describe. Music is the kingdom of the Essence.

Do you agree that music is all about fantasy?

No doubt, Music is about fantasy: but it’s also about rationality, language, architecture, deep organization of the thought.

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

If I wasn’t a professional musician I would like to be a linguist.

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

I’m not worried about my future, because classical music audience will exist forever. I’m a music teacher in secondary school, and I can affirm that there are young (and very young too) people that are interested in classical music, when you allow them to listen to and know classical masterpieces: if you are able to explain classical pieces to young people and allow them to understand, you can enlarge the audience. I think music teachers have a huge responsibility in this process.

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?

The role of classical music in 21st century could be central. Since the world is risking a total destruction, I think people will come back to the Beauty, or I hope so. The world needs beauty and Classical Music (but also Art, Literature, and any higher form of expression) could be the means to save the World. The School - as an Institution - must work in this direction.

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?

It depends on the meaning of the word “new”. If i think to something “New” in strictly musical language, it’s very hard to imagine something new in music, anyway a composer has a duty to search for something new, or original or personal; if we are talking about new ways to propose a new public face for classical music I say to be careful, in order to avoid an excessive “commercialization” of the message. But the matter is really complicated, it’s impossible to exhaust it in a short answer.

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

Creativity is indispensable. A composer doesn’t exist without creativity, and creativity must be cultivated with a a hard training, every day, with a lot of discipline.

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

Musicians should be more able to speak personally to the audience before the concerts and, why not? during the same concerts too, stimulating questions and conversations with the listeners. Musicians should use youtube (and other channels) too for making classical music more popular, explaining it to young people, with examples and chat with young people. But I think also Television should be more involved in dissemination. TV has a duty to educate people, it’s always a strong medium. But also in this case, the matter is so complicated..

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

I have 2 or 3 favorite pieces of mine, Umore for sax soprano and orchestra, Modanature for Wind Orchestra and Opodeldok for solo voice (reciter), piano and percussion. The method is always the same: I look for the chords or sounds conglomerates at the piano, choosing intervals and scales with great attention and then, when I have decided my materials (rhythmic, melodic, harmonic etc.), I begin to compose: but I already have an idea of the whole structure of the piece, so I know what happens in every part of my pieces - anyway, during the process something can change, so I can also change the path (and the whole structure, even if can’t change so much, the mean key points are decided)

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 combination of Music with different disciplines are good, even if the highlight is pure music. Nevertheless, combinations help people to approach classical music in a easier way.

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

Be patient. Searching for A LOT of different pieces on youtube, listening to them very carefully and more times, and reading a lot of biographies of main composers, and comparing music with History, Art, Literature, Philosophy of the same period of the composers they are discovering. Studying is a work in progress, all the life.

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?

I think, regarding classical music, it has always been a matter of “selling” a product. Let’s think to Michelangelo, or Giotto, or Beethoven, or Rossini, or Verdi, Liszt, Brahms, Stravinsky and many others: they were really able to sell their “products”. An artist has to be able to live deeply in reality, if (s)he wants to live only earning money from his (her) art (without doing other jobs to live; there is some singular cases of pureness, like f.i. Charles Ives, who considered Music too important to mix it with a stuff so “vulgar” like money. For this reason, he founded the best Insurance Society in New York earning money with this job and composing only during the night).

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

I hope audience like my music, of course. But I haven’t any particular expectations regarding my listeners (hoping they exist!:-). Rather, I have particular expectations regarding my skill in communication with an audience, trying to write music able to create a link between my listeners and my music. I think communication is the main purpose for a composer (without falling into easy and “commercial” ways). I think that when you write a piece in which form, articulation, harmony, timbre, in short, every musical parameter is well organized, the communication is clear and works.
What projects are coming up? Do you experiment in your projects?

In this period I’m working on a small opera (30 min.), on a piece for small wind orchestra (20 instruments) and projecting some different pieces for orchestra and for piano solo. Generally, I don’t experiment too much in my music (it depends on what “experiment” does mean. If we are speaking about dissonances or complex polyrhythms or special combinations of timbres isn’t an experiment anymore, it’s the normal knowledge in my music). Sometimes I experiment something “different” in my way of thinking music, but only when necessary, for expressive purposes. Country:

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