Alberto Cara (1975)
Author of chamber music, symphonic, opera.
His music is performed in Italy and abroad. He is currently developing a project that integrates music theater and new technologies (www.socialoperahouse.org).
Noche 2.0:
My music has always a narrative intention: Noche 2.0 want to tell a restless night that ends unexpectedly with a return to normal.
The story unfolds in a series of events continuously and rapidly, modeled on the speed of change in the face of some typical narrative film (in particular I refer to M. Scorsese's After Hours): If you can draw inspiration from literature and from its forms,why not the Cinema?

Alessandro Lucchetti
Composer, arranger and pianist. One of the founders of the current Neoromantic, has been engaged for years in the fusion of genres.
His music is performed in important Italian and foreign concert halls such as the festival of the WDR in Cologne and Berlin, the Bath Festival, the festival of the Rhine, the Darmstadt Opera, the Week of Italian Music in New York.
He has received commissions from the Swiss Radio, RAI Rome, the Orchestra of Winterthur and the Venice Biennale.

Two Poemetti for flugelhorn and piano
Written in the second half of the 80s, for English horn and piano, and belonging to a cycle of compositions entitled Rocksongs, these pieces are inspired by verses of two of the leading exponents of the English decadence: the first to a sonnet by Keats entitled " To ... ", and the second in the rooms of Shelley entitled " April 1814 ". The work is characterized by great expressive contrasts and coexistence of disparate stylistic language: melodies of the flugelhorn and piano figurations clearly of romantic alternate and, at times, are integrated with the rhythms and harmonies of source rock; atmospheres archaic flavor of the Celtic tale are mixed with urban sounds from the frenzied pace; views of Scottish moors are interrupted or change indoors where echo of pop-folk ballads, and so on. Writing is guided by the traditional and instrumental viruosismo typical romance.

Before Ottaviano Cristofoli ask me, I never thought to write down the Intermezzo of Puccini's Manon Lescaut, for trumpet and piano. I liked the idea of working for a client to know where the peculiarities technical interpretation and the uncommon instrumental.
Then, when I realized that the melodic line carrier that splendid orchestral page, covering the entire extension of the trumpet, I could not resist to what seemed a further invitation.
As regards the job in question, it would not seem, in theory, require a special effort: the trumpet performs the melodies and the piano summarizes the orchestra. But it is drawing up piano, which is essential to recreate the "sense" of the original, while ensuring a robe "concert" transposition, which recognizes the hand of a composer and not a simple transcriber.

Claudio Cimpanelli (Rome, 1956)
The repertoire of Claudio Cimpanelli is predominantly symphonic, opera and chamber music, performed in Italy and abroad at important institutions including the International Festival of Santander, the Fondazione Pergolesi - Spontini Jesi, the Teatro dell' Opera di Roma, the Foundation Shipyard International d 'Arte di Montepulciano and the Circle of Palazzo Madama (Italian Senate) Its production is particularly wide; there are many songs written for the group Ottomania he founded and directed. Some of his works have been broadcast by RAI, Mediaset, Radio Vatican, Sky, Swiss Radio, Radio Clásica Española, etc. E'edito from Sedam of Rome). (Echoes from Earth)
He wrote soundtracks (published by EMI and Warner Italian) for films presented at the Venice Film Festival in Venice, at the David di Donatello in Rome and in various festivals in the world. www.claudiocimpanelli.it

Rapsodia, Trumpet (1999)
I consider the trumpet an instrument that evokes, like few others, a sense of loneliness and desolation no accident this work was composed in the 'Sicilian island of Favignana, in' isolation of their campaigns, sun-drenched, overlook on the sea. The original lyricism of the song gradually evolves into a rhapsodic performance, resulting in a tango and finally, after an excited d 'Latin American footprint, ends with a high C of great effect.

AESTATIS FULGOR, for trumpet and piano (2014)
This work is a tribute to the 'summer season when most of the beings of the world's plant and animal are found to express the utmost vitality. In the flow of the song is highlighted, however, even that melancholy and unease that pervades the 'soul of who is aware of the transience of things, even in the knowledge that they will then be proposed again by the cycle of seasons, albeit in a non-identical.
The solo instrument is here engaged not only in tight passages of sixteenths; in fact, it is also entrusted a part cantabile and subsequently a sequence of triplets. The role of the piano requires a remarkable technician.
The title in Latin testifies to the love for classical culture and even the aspiration to contain in a few letters and conceptual sensitivity, similar to what were the poets and writers of the ancient world.

Federico Biscione was born in Tivoli (Rome) in 1965. He is the author of vocal and instrumental music, chamber and symphonic music often performed in Europe. He teaches composition at the Conservatory of Bari.

The "Sonatina Giocattolo" (1985) belongs to the very first season of composition of the author, and is presented in a neoclassical form that does not rule out the freshness of inspiration. Alternating bright moments with other more cantabile, and the term "toy" refers both to small-sized attitude music generally amused ringing announce battles to fight with fake helmets and wooden swords, and melodies wrap the rival gangs an embrace of tender friendship.

Giampaolo Testoni
Italian composer (Milan, 1957) among the founders of the musical movement "neo-romantic", student of Niccolò Castiglioni. He debuted at the Venice Biennale of 1981 entitled "After the Vanguard" with great interest from audiences and critics. Casa Ricordi immediately decides to publish his works that were commissioned by orchestras and chamber ensembles Italian and European. In his catalog a lot of music for orchestra including two symphonies and three Symphonic Fantasies, orchestrations (Schumann's Carnaval and Christmas tree of Liszt), opera in three acts Alice, chamber music and dance. His music is published by Ricordi and Sonzogno.

Tre miniature Dorate and Furusato Variazioni :

Tre Miniature Dorate and Furusato Variazioni are two recent songs written for the CD of Ottaviano Cristofoli (and Martina Frezzotti) crowning of another important project that involves him with his fellow musicians Japanese and French trumpeter André Henry. The discovery of simple but intense beauty of the melody Furusato seemed perfect to pay tribute, by Italian, to Japanese music and modern spirit subtle and poignant of his great people through nine variations that try to capture the poetry, while in Three Miniatures I caused the playful spirit and lyricism so human sound of two trumpets through two extraordinary actors that pursue and counterpoint in the whirlwind of a narrative sound that complements the history and essence of this noble and sensual instrument. I belong to that part of Italian composers who fought from the late seventies to try yet expressive beauty and narrative writing musical style through the recovery of traditional forms, in the belief that the unhappy fate of contemporary music because of its avant-garde more dully self could finally change. Variations or write symphonies or concerts or quartets and operas, is the right way to fulfill this artistic mission, following the example of the beloved authors twentieth century.

Marco Gatto (1983) is a pianist, composer and conductor. He has written chamber music, symphonic and operatic music, performed in Italy and abroad. Founder and conductor of the Chamber Orchestra Synapsis, teaches at the University of Calabria.

The "Three fragments metric" (2015) are dedicated to Ottaviano Cristofoli and are based on the idea of a mixture of singing and rhythm. Inspired at the foot of the ancient metric, the melodic figures tend towards infinity and evocative singing. If the first of the "Fragments" the listener finds himself certain sounds Mahler, enigmatic; in the second, it will recognize a setting almost grotesque; and he finds himself third in the singable lines only hinted at by previous "Fragments".

Amilcare Ponchielli, Concerto for trumpet and piano
Performed by the "National band" for the first time in April 1866 directed by the same author, The Trumpet Concerto in F and Band is the first composition written for the band that Ponchielli in Cremona.
The special writing for "trumpet in F" may seem strange, but was part of the traditional organic Italian band, specifically, the concert was written for the trumpet holder "Giuseppe Cesura" who had a horn in F Austrian manufacturing.
The title "concert" appears many times in the documents of Ponchielli, but never on the score, in fact, the structure is not in agreement but of "theme and variations"