Chamber Music

I was the winner of the Special Prize for Duo with violinist Stefano Pagliani at the National Competition of Vittorio Veneto and I have obtained the honour mention in the competition Lilian Caraian in Trieste, which is dedicated to the piano in chamber music.
In duo with violin, I have collaborated with Stefano Pagliani, Luca Fanfoni, Liliana Bernardi and Giacome Tesini performing the most important pieces of the repertoire for this formation.

I have collaborated with the Poulenc Sextet, with the Solisti della Scala and with the Alma Ensemble.

I often play in piano duo with Raffaele Cortesi and we have in our repertoire the most challenging works of the twentieth century and contemporary literature.

I have debuted in duo with violin in 2002 at Weill Recital Hall of the Carnegie Hall in New York where I performed again in 2003 during a major tour of the USA.

Among the various radio recordings, I have played live from the Cappella Paolina of the Quirinale in Rome for the Italian national broadcaster RAI Radio 3 Concerts.

The main condition for chamber music is that performers set themselves in equal terms. In any other classical musical variety, this does not happen: in symphonic music and opera the conductor has a greater responsibility and power than anybody else; when there is a soloist, he/she can take much more performance freedom than whoever is accompanying. In chamber music, instead, each personal expression needs to be harmonised in equal and respectful terms with the individuality of the other performers.
This is why chamber music requires the deepest and less obvious of the human qualities to be put into the performance. Skill, talent, virtuosity are useless, if not detrimental, unless used for the sake of the collective goal. Instead, those hidden and gentle qualities, such as respecting, heeding, accepting oneself and the others are necessary to integrate one’s own will and thought with those of the others. T.W. Adorno said: “It appears natural to define chamber music as the music of the interiority”; one could go even further and see it as a sort of “spiritual” practice and, at the same time, among the higher expression of ethical virtues. In this perspective, you can never stop learning, in fact, for me every time it seems like I need to start over

  • Roma, Quirinale