Disco-Classic. Music and poetry. Contemporary voices of the two “sisters” [...]
“[...] this is a very interesting CD devoted to the ‘Italian Contemporary Voice’, forth step of a journey that the Duo Alterno, formed by soprano Tiziana Scandaletti and pianist/composer Riccardo Piacentini, has drawn for Stradivarius label with the aim to rebuild the various attitudes that in 20th century marked the relationship between the ‘two sisters’ [music and poetry]. That is not exactly an idyllic relationship, and the historic reasons are exlplained by Quirino Principe [author of the booklet presentation] with his penetrating intelligence, dwelling on the Italian isolation among the lucky convergences offered by other civilizations, from the Flemish refinements to the enveloping introspections of the Romantic Lieder. Just in order to this brackdrop, the profile of this proposal seems to put itself backlight, through the alternate joke of the two musicians that, not without nagging thought [‘rovelli’] and even utopianly, leave emerging this past and others that seem instead to face the relation between poetry and music after having reset the table. As Donatoni looks to do in his brief page ...ed insieme bussarono signed by that priceless happiness with which he used to give life to the deconstructivist bending [‘ripiegamento decostruttivista’]; and also the more demanding work by Bussotti, Lachrimae, with its restless melting pot in four different languages, screwing them in his congenial choreographic vocation. In this fascinating trip the memory of the resounding vocal vocation of Cathy Berberian could not be lacking, of whom Tiziana Scandaletti renews the fascination with ‘bravura’ and intelligence recomposing one the most famous sortie, Stripsody. And always on the wave of a subtle parody Marcello Abbado jokes among phonemas and gestures in Vocalizzo on a famed page of the Barbiere by Rossini. The past re-emerges without insisting regret, but as an anxious panicky speedwell [‘trepida, allarmata veronica’], from two tender pages by Mauro Bortolotti as well as  Schumann's Lieder evocation Ich grolle nicht becomes extremely inciting from Gilberto Bosco. At last a stimulating joke of the same Piacentini, An Mozart, amusing both for the listeners and the performers, become six as the Penderecki String Quartet joins the Duo Alterno.” (Gian Paolo Minardi)

From “corrierebit.com” – June 12th 2009:

Vocal pieces of contemporary musicians for Stradivarius
“[...] Leading actors of this interesting work the Duo Alterno and, in one of the eight pieces presented, the Penderecki String Quartet too. The Duo, internationally acclaimed, is formed by the soprano Tiziana Scandaletti and the pianist-composer Riccardo Piacentini. In the cd La voce contemporanea in Italia [The Italian Contemporary Voice] - vol. 4 we can listen to pieces composed between 1966 and 2008 from Bussotti, Bortolotti, Abbado, Donatoni, Berberian, Bosco and the same Piacentini. The female voice has always a central role in all the compositions. [...] An Mozart, written by Piacentini in 2008, joins the voice and the piano to a string quartet and presents musical qualities where the influences of the German tradition of the first 20th century are mixed, in the final, to a musical past easy to recognize. The search on the text is mediated by a visionary language rich of suggestive images. A very well interpretated cd that we recommend to all lovers of the voice.”

From  “ESZ News” – June 2009

A postmodern night
“[...] La voce contemporanea in Italia [The Italian Contemporary Voice] - vol. 4 (Stradivarius 33833), a «beautiful anthology [...] a wide landscape that honours the 20th century Italian Art» (Claudio Strinati on la Repubblica) with [...] the important series of contemporary composers presented from the two artists [Scandaletti and Piacentini], «spokespersons of absolut reference for sensibility and competence and of laudable coherence in choising the repertoire and the interpretation» (Claudio Bolzan su Hortus Musicus).”

The new CD of the Duo Alterno dedicated to the contemporary voice
“The Duo Alterno [...] comes out with a collection nr. 4 of La voce contemporanea in Italia. It is not easy to find, in the Italian recording stifled landscape, so courageous cultural operations. An hommage to Bussotti, with his extrahordinary Lachrimae, Donatoni, Berberian, just to cite some composers, with the excellent performance of the Duo that confirms itself as one of the most prestigeous ensemble in the Italian panorama.” (Daniele Ribustini)

From “Tandem” (Toronto, Canada) – April 5th 2009

Music meets technology. Event celebrates visionaries Galileo and Marconi
“The Bata Shoe Museum and the Italian Cultural Institute invite the public to a free concert [...] by Duo Alterno [...] returning to Toronto after a previous successful concert last year at the Music Gallery. The Duo proposes a dialogue between technology and music through time and it unites situations of the past with the present: an important 400 year anniversay – the invention of the telescope by Galileo Galilei in 1609; another important centenary – the Nobel Prize in Physics for Guglielmo Marconi and his research on ‘wireless’ communication, in 1909; today's photomusic by Riccardo Piacentini – 2009 – which could be interpreted as a metaphor both of Galileo's telescope (music which virtually infitely enlarges the acoustic particles of the musical landscape) and Marconi's wireless telegraph (music that ‘communicates without wire’, from one continent to another, from one context to another, transporting the ‘waves’ of photo-sounds to different places and cultures) [...] The program is accompanied by screenings of images [...] that refer to Marconi and Galileo.”

From the telescope to the telegraph to photomusic
“The inventive Duo Alterno presents a multimedia concert dedicated to Galileo and Marconi [... at the] Bata Shoe Museum [...]”

From “Neue Wesfälische Zeitung” (Bielefeld, Germany) – March 11th 2009

Inspired Italian
“Inspire. Expire. Make vibrating your vocal cords. It is a common practice. But in the Italian evening at the Süsterkirche this happened even more perfect. The Duo Alterno presented an exacting program of XXth century popular compositions. The two musicians from Tori proposed just Italian composers and their own compositions too. Remarkable since the first note the full voice of Scandaletti. Also without any amplification it was able to fill all the church. The piano accompainment was very controlled to perfectly highlight the voice. The Duo Alterno [...] was professional and gallant [“professionel und galant”]. Riccardo Piacentini explained the single points of the program. [...] Considering such a vocal art [“Sagenkunst”] it is not strange that Duo Alterno's repertoire includes many pieces expressly written for them.” (Alexandra Limont)

Duo Alterno: two fascinating voices
“[...] at the Melbourne Federation Hall [...] the fascinating voice of Tiziana Scandaletti weaved a magic atmosphere substeined by the music at the piano of Riccardo Piacentini. The texts of the popular songs acquired a clear and cristallyne sound quality that enchanted people. Sometimes dramatic, sometimes passional or very sweet, like in the encore, the Lullaby by Alfredo Casella, the pieces revealed themselves in all their beauty [,,,]” (Gabriella G. Hubbard)

Scandaletti-Piacentini, a couple between Dallapiccola and Morricone
“Among the most worthy of approvals musicians by Turin, among those ones that promotes the contemporary repertoire, there are Tiziana Scandaletti and Riccardo Piacentini [...] Joint in the life through marriage, they are joint also artisticly with the name Duo Alterno, and together they became well known all over the world as refined interpreters. They signed also some suggetive ‘sonorizzazioni’, such as for the 8th and 9th International Biennial of Photography in Turin, the Train Museum in Bussoleno, the mines in Traversella, the Royal Castle in Venaria. MiTo Festival has invited them to perform [... with] a series of pages that are converged into their CDs dedicated to composers of today [...] A pleasant tracking shot through 20th century music” (L. O.)

Flash from Toronto
"[...] the 3rd edition of ‘SoundaXis Festival 2008’ has happened in Toronto with conferences, symposiums, screenings and concerts dedicated to the new music. A wide space was devoted also to Italy with three concerts, two of which dedicated to Giacinto Scelsi [...] ed the third one, titled Intra/Introspections: Piacentini & Gentile, just dedicated to the composer from Turin Riccardo Piacentini and the woman composer from Rome Ada Gentile. By Piacentini were performed two works: For four for string quartet and, in world premiere, An Mozart for voice[, piano] and string quartet. [...] The excellent interpreters of this third concert were the Duo Alterno [...] and the Penderecki String Quartet [...] The appreciation of the thick public was optimum [...]" (M&S)

Intra/Introspections reviewed by Stanley Fefferman
 

“On a hot summer night, a concert of ‘new’ music with a breeze of mischief and humour blowing through it is cool news. We begin with pair of offerings for voice and piano by John Cage. Formally mocking form, composer/pianist Riccardo Piacentini and soprano Tiziana Scandaletti first adorn the silence with gestures and then perform strongly around a text of “Finnegan’s Wake” by James Joyce. The Penderecki String Quartet brought their exciting intensity to an important work by Riccardo Piacentini, his For Four (Part IV) for String Quartet (1994). The piece is a texture of horizontal and vertical elements, highly coloured and strongly contrasted in their details, as if irreconcilable differences were searching for agreeable combinations. Thus the music mixes pizzicato with discordant unison drone bowings, relaxed tempi churning into states of alarm, powerfully intense passages that dissolve into squeaking, gibbering, ghostly tones that fade away. One feels somehow involved in a personal confession and struggle against restraint, a journey towards unfetteredness. [...] Gentile’s La giornata di Betty Boop for voice and piano (2006) in five sections, has Piacentini at the piano wearing a tail, a dog collar and leash while Scandaletti outfitted like the cartoon character prances and sings to ‘Boby’ her doggie six funny texts by Sandra Cappelleto [sic], leaving the audience in high spirits.” [Stanley Fefferman]

A 20th century of fables and songs [...]
“Fables, ballads and songs [...] gave us an intense trip through the chamber repertoire of the first and second 20th century, disovering those authors that were mostly fashinated by the popular melody: Leone Sinigaglia, Alfredo Casella, Franco Alfano, Giorgio Federico Ghedini and, at the end, Luciano Berio [...] Performer, as well as inventor of this original and captivating program [...] the Duo Alterno, sturdy chamber ensemble born in 1997 thanks to the union of the soprano Tiziana Scandaletti and the pianist and composer Riccardo Piacentini, both professor at the conservatory [...] Encouraged by the success of their frequent tours in Italy and abroad, the two artists also proposed pieces expressly compoded for the duo, such as Due canti brevi [Two brief songs] of the American composer Curt Cacioppo, that was present for the Italian première of his work [...] Worthy example of modern ‘Lied’, Cacioppo's piece takes form as a long sequence of broken phrases, strongly and painfully intense in the expression. Of remarkable interest is also the piano piece written and interpretated by Piacentini as a pleasant interlude, just instrumental, between the vocal performances: freely inspired, as the same title Venexiàn suggests, to a popular Venetian melody, this Piacentini's composition explores the last frontiers of the della piano colors, putting objects on the strings of the instrument so as obtaining sounds close to the metallic vibrations of an harpsichord. The soprano Scandaletti, ductile voice, sharp and agile, particularly suited to a chamber repertoire, immediately captured the public, chiselling with refinement and partecipation four songs from the Vecchie canzoni popolari del Piemonte [Ancient popular songs from Piedmont] elaborated and arranged by Sinigaglia. Then, at the end of the vibrant interpretation of Cacioppo's Canti brevi, the duo performed Ghedini's Quattro canti su antichi testi napoletani [Four songs on ancient Neapolitan texts], where the composer, brought the melody at the highest point of the dramatic intensity, melts it in suspended phrases, evoking dreamlike and restless atmospheres. From Alfano, instead, the duo performed the song Mamma il giovane principe [Mum, the young prince] (1919), one of the first exemples of the intense work in composition, flowed two years after in the opera La leggenda di Sakuntala [Sakuntala's legend], on Tagore's poetic textes. As completion of the brilliant performance, Piacentini and Scandaletti interpretated the Quattro canzoni popolari di Berio [Four popular songs] (embryonal idea of the more famous Folk Songs), work that, in the past, they were honoured to play just in presence of the composer [...]” (Alessandra Gregori).

More than you asked for
“It's always nice to get more than you asked for. In my case, I ordered this CD for the performance of Dallapiccola's Tre Poemi. I was nicely rewarded in that regard, but was also delighted with performances of Nono, Petrassi and more. Duo Alterno is comprised of soprano Tiziana Scandaletti and pianist Riccardo Piacentini (who also contributes one of the pieces on the CD) [...] She's a first-rate soprano, with a timbre that at times reminds me of the much-missed Jan de Gaetani. And (this is very high praise in my book) she has guts. Not content to sit back and make pretty sound, she explores her range and expressive capabilities in significant ways. He's also a fine accompanist, knowing when to challenge and when to support. [...] Nono is fabulous, quiet and withdrawn. The piece by Piacentini deserves special note: it's an electronic piece, calling on some extendend techniques from the soprano. It's deftly done. Duo Alterno is a very good pair of musicians, and are convincing advocates for some worthy music. [...] Fine CD.” (Personne)

Entertaining Italian duo [...] Works of Morricone, Berio, Corghi and Piacentini
“Modern tones wrapped in several layers of humour started the springseason in Kulturverket [Halmstad, Sweden]. It was last Sunday that Duo Alterno from Torino in Italy, consisting of the soprano Tiziana Scandaletti and pianist Riccardo Piacentini, alternately challenged and entertained with mostly italian music from 1900 and forward. To be able to really fascinate and engage this kind of music demands a lot from the executors. In this case not only the musicians great technical ability convinced but also the richness of variation  in expression permeated both vocal- and  pianoefforts. No detail in the demanding pianoparts escaped Piacentini’s sensitive fingers and no mood or intonation was foreign to Scandaletti which she with her expressive soprano explored and exposed. Fine presentations and crazy humorous ideas (whims) also helped to lift the entirety. Names like Luciano Berio, Ennio Morricone, Azio Corghi and Ada Gentile were in the programme. Morricone who is known to most of  us for original and creative filmmusic has also composed traditional music. During his nervy humorous Epitaffi the singer took place halflying on the grandpiano, as if the aim was to sell a used car. Were it not for these acrobatic escapades the grandpiano could have been open as the risk of drowning Scandaletti’s powerful and strong voice was non-existant. We also heard an example of Piacentini as composer where a taped American song of crickets was a foundation to his own pianomusic. When he to the audience's great delight imitated a dog while playing was only one of many examples of the duo's incomparable rampage. Summarizing all, the concert was varied, entertaining, challenging, and perfect in time. Praise also for the genial ending with a shockingly tonal folksong from their region.” (Per Björk)

Shouting of happiness [...] The Italian Duo Alterno performs German poets from Goethe to Rilke at Wolfsburg Castle
“The Alterno with soprano Tiziana Scandaletti and pianist [...] Riccardo Piacentini kidnapped one hundred fifty people joined at Gartensaal of Wosfsburg Castle into the world of sounds of 20th and 21th century. The Italian Cultural Institute could book the two artists, requested all over the world, for this invitation evening. The Duo presented a choice of Lieder on texts of famous German poets, realized in music by Italian contemporary composers [...] The artists were animated by a thrilling fervour. Tiziana Scaldaletti gave jform to the poetic language clearly and intelligiblely and realized the different atmospheres and sentiments of these Lieder with a vocal emission (“Stimmgebung”) characterized by manifold and changing colours [...] Moments of great emotional implication derive from this. The pianist listen to the sing both as partner and performer. The agreement between the two artists is made by a subtle tuning, contained inside the piano part, rich of changes and colours, continuous source of stimulus for the singer, acoustic base that substains and eviscerates all the expressed sentiments. Piacentini played some his composition with partially prepared piano [...]” (Angelika Kannenberg)

Great music [...]
“[...] beautiful concert that the glorious Accademia Sinfonico Corale ‘Stefano Tempia’ [...] committed to the Duo Alterno [...] A concert, in Conservatory, almost all on the French versant, with the nice Debussy's «Chansons de Bilitis» that Scandaletti sang with proper accents and beautiful, fluted sonorities, seconded by Piacentini's elegant piano plots. Really emotional. Then Piacentini alone performed in the double role of pianist-composer interpreting his own composition with the provocative title «Jardins sur la pluie», clear reference to Debussy's «Jardins sous la pluie», genial and fashinating page hybridized by one thousand timbric refractions thanks to Guido Boselli's cello and Annamaria Morini's diaphanous sonorities on the flute, and thanks also to the ‘foto-suoni’ (sounds reportages on tape) whose Piacentini is inventor and tireless finisher. Then Chausson, and his unforgettable «Chanson perpetuelle» [...] In the second part Casella's «Adieu à la vie»: an artist born in  Turin, Alfredo Casella, but formed in Paris at the beginning of 20th century, and the voice of Scandaletti was able to give back us at the top the modernity of that page, still upsettingly actual with its sharp profiles, pointed like stalactites, wonderful, such as wonderful and imbued by subtil erotism are Ravel's «Chanson madècasses» that the Duo Alterno magnificently performed, still giving emotions [...]” (Attilio Piovano)

Italian music for singing German poets
“A strong idea feeds the third CD that the Duo Alterno from Torino - Tiziana Scandaletti and Riccardo Piacentini [...] - dedicate to the ‘Italian contemporary voice’. The first one privileged the relation among poets and musicians in the XXth century, the second one the relations of the the art music with the popular tradition; the last one has as leading actors German poets and Italian composers. The poetries by Goethe, Heine, Rilke, Müller inspire the fantasy of masters such as Aldo Clementi and Giacomo Manzoni, successful artists like Luca Lombardi, Alessandro Solbiati, Fabio Vacchi, Alberto Colla. Se un giorno tu by Heine is the last work of the disappeared Carlo Pinelli. The different sensibilities are well picked by the interpreters, appreciated specialists in music chamber lyric. Vacchi confers to Goethe's Mignon an disquiet sensuality, Lombardi perfectly snatches the violence of Ophelia and Electra rewritten by Müller and invents a passionated piano part. Clementi frezees Rilke, Colla ignites him (and Scandaletti enkindles him) [...]” (Sandro Cappelletto)

The duo that give voice (and piano) to the Italian XXth century
“With the name of Duo Alterno, soprano Tiziana Scandaletti and pianist-composer Riccardo Piacentini devote theirselves since one decade to the Italian vocal music of XXth century and above, since various works by the same Piacentini date outside the threshold of 2000. The three recent cds titled La voce contemporanea in Italia [The Italian contemporary voice] represent a beautiful anthology of many tendences retraceable in the XXth century and give a very precise idea of some our maximum composers. The first cd is historicly remarkable. It includes pieces by great and ‘grandissimi’ composers. A true discovery is Tre canti di primavera [Three Spring Songs] by Giacinto Scelsi [...] so sweet and animated from a dimension of celestial and ecstatic harmony [...] Masterworks of the following decade are Due liriche di Saffo [Two Saffo Lyrics] [...] by Goffredo Petrassi. Two marvellous songs in which the idea of a di una classical style that prescinds by the commonplace of the harmonic solution of any disagreement is formulated in a perspective that makes overlapping what is far and what is near [...] And also Dallapiccola's Tre poemi [Three Poems] are wonderful [...] free and structured at the same time, the dreamy Liriche written in 1951 by Domenico Guaccero [...] the strong pieces, written in the first Sixties, by Azio Corghi and Luigi Nono. By this one Mrs. Scandaletti perform Finale for solo voice from La fabbrica illuminata [The illuminate factory] in an acrobatic lightening of archaic trillings. And very interesting is Piacentini's piece on texts of Sandro Cappelletto, 2001, a kind of post-modern evocation of an hypothetical and humorous futurism. Important the other two cds too, where some cospicuouses things appear by Maderna, Morricone, Berio, Sciarrino, Clementi, Manzoni, Vacchi and others, in a musical landscape that does honor to the Italian art of XXth century.” (Claudio Strinati)

Duo Alterno, soprano-pianist from the hometown of Pavarotti
“In response to a tact smile from his wife, Mr. Riccardo Piacentini fingered the piano's keys. Ms. Tiziana Scandaletti, the Italian soprano, stood besides the piano under the spotlight at Xinghai Concert Hall on Sunday night. In the dim lighting her voice began to permeate thrughout the Chamber Hall and seep into everyone's ears. From the hometown of the renowed tenor Pavarotti, the vocal-piano assembly undoubtedly prepared an Italian repertoire for Guangzhou audiences. I could not help holding my breath, afraid of missing any note from the elegant lady. With agile and quiet melodies, music is the best language for people with different backgrounds. Don't worry about understanding the deeper meaning of Italian lyric, an eligible audience could simply admire the performance. As composer and pianist, Mr. Riccardo's recital after the intermission [...] still gained high applause. For encores they performed a Chinese traditional ditty ‘Jasmine’, tending to get closer to the local audiences. Interval meritorious laughter from audiences seemed to be an affirmation to sincerity and articulation [...]” (Jesse Hwang, Kimberly Barteau)

Voice and piano of today
“Third volume of a CD series that investigates non only the range of the vocal writing in Italy in the main composers of the second XXth century, but mostly its marriage with the piano (renovate, reconceived marriage, though always tied with the German Lieder tradition or with the precious manifacture of some French chansons francesi between XIXth and XXth centuries), this CD explores just this last aspect, through a poetic anthologythat is almost all in German language. It is surprising – though they are two ‘iuvenilia’ – the maturity with which Clementi takes and reformulates expressionist and dodecaphonic peculiarities in the first one of Due poesie [Two poetries ...] the harmonic skill of Colla seduces; the power of the expressive gesture of Lombardi shakes [...] the articulated but clean plot of the the first Hölderlin Lieder of Solbiati captures; the kaleidoscope in which the refined texture of Vacchi's Mignon charms. The various gems of this recording, after those ones included in the other volumes (the first, around Italian poets of the XXth century; the second, crossing the regions of the popular song, gestures and contaminations) would not appear such as this without the cleverness and passion of the performers, often dedicatee of many pieces, and living examples of the vitality and valorizzabilità of a new vocal repertoire with piano: Scandaletti valorizes a medium range particularly warm, and Piacentini an immersion and total mastery in the articulated dialogue with the voice.” (Alessandro Mastropietro)

[...] an announced success
“[...] Title: Pagine cantate. Cross-fade tra letteratura e musica del Novecento [Sung pages. Cross-fade between Literature and XXth Century's Music]. Performers: the cellist from New York Madeleine Shapiro in trio with the very harmonious [“affiatatissimo”] Duo Alterno, accompained by Oliviero Corbetta's readings wtih background of Daniela Vassallo's suggestive photographic projections. The program, very appreciated by a visiblely amused audience, was focused on some of the principal XXth Century's Italian autors (both for music and texts), from Scelsi-Aleramo to Petrassi-Quasimodo, from Nono-Pavese to Corghi-Bertolucci-Ungaretti, to Guaccero-Montale, to Panni e Gentile-Cappelletto, with a very interesting “raid” into the American contemporary repertoire (Earle Brown's Special events), of which Madeleine Shapiro is excellent performer. Particularly Ada Gentile's piece (La giornata di Betty Boop [Betty Boop's daytime], dedicated to the Duo Alterno on the humorous texts by Sandro Cappelletto, requested a remarkable cleverness in vocal and scenic gestures, realized with great charm by the soprano Tiziana Scandaletti [...] In short, a musical performance of high impact and level, based on the interactions of the worlds of music, literature and images.” (Mario Gioiosa)

[...] Festival “Nuovi Spazi Musicali” celebrated with large and amused audience
“[...] full house even for standing places [...] The opening of the performance was with two pieces for voice and piano by ‘Frauenliebe und Leben’, texts by Adalbert von Chamisso and music by Robert Schumann, ‘fil rouge’ of the programmation in hommage to 150 years from Schumann's death. Soprano a ductile Tiziana Scandaletti in this in this chamber work performed with such a gracefulness. Scandaletti with the pianist Riccardo Piacentini in 1997 gave life to the Duo Alterno [...] many well known composers wrote for them and their partecipations to international festivals are really numerous. The program [... was] among whistle sounds and playful notes, governing through a leash the little dog (pianist) wagging tail and adoring. Music gets shape, becomes an onomatopoeic barking, then a strange solfeggio and frames from Mozart [...] with delicious lulling charme [...] a futuristic canvas with pieces like Amado mio, Toreador, Besame mucho, while delirious words and also crumbled, crashed, assonantic, homophonic, chosen for resonating in the air, are mixed together American songs and stretch out the end with classical vocalisms. Many applause from the people [...] Closing the performance, piano and cello [Madeleine Shapiro from New York] recount together with the singer (here reciting voice) some moments of the life of San Francesco. A little mystic shiver, gentle and solemn [...]” (F. A.)

Scandaletti e Piacentini, direct line with the composers of 20th century
“Duo Alterno, that is the voice of Tiziana Scandaletti and the piano of Riccardo Piacentini, is an ensemble which exists since ten years and devotes itself to a tireless work of apostleship in the music of 20th century, mostly Italian. The Duo realized four CDs, dedicated to personalities such as Maderna, Ghedini and Casella, and now it adds other two anthological CDs. So now the two harmonious artists record works by Nono and Petrassi, Corghi and Sciarrino, Morricone and Berio and many others with the clear purpose to show not only the various technics in writing music, but also the manifold cultural and expressive horizons of the ‘patrol’ of composers that have made the history of the vocal music in the last one-hundred years. To their merit is to add the philological trustworthiness that comes from the scrupulous search and study through which they perform the scores and from having a continuous direct line with the same composers, really happy to give to Duo Alterno their new creations.” (Enrico Girardi)

The «Duo» alternates tradition and modernity
“Magic mix between popular ancient tradition and cultured contemporary music [...] Pratically known at every latitude specially for the courageus dedication to the rediscovery and valorization of the Italian vocal repertoire in 19th Century as well as in contemporary music, the clever ensemble was able to lead a docile public inside the meanders of a program fomed by so rare and unquestionably interesting pages [...] With great concord and dramatic verve the Duo Alterno coped well with the Alfredo Casella's “Favole romanesche” op. 38 [...] the caustic Ennio Morricone's “Epitaffi sparsi” [...] the intensive Giorgio Federico Ghedini's “Quattro canti su antichi testi napoletani” till the “Quattro canzoni popolari” of Ghedini's pupil Berio. Nice parenthesis also “Madrileño”, warm piano piece by the same Piacentini, and the sweet and dreamlike “Ninnananna” by Pieralberto Cattaneo from Bergamo first time performed. If Piacentini impressed for his exquisite timbrical research, Scandaletti was brilliant performer with her flexible voice [...] really soft in climbing expressively the rich timbrical and tonal range [...]” (Filippo Manini)

Resonant arabesques: Riccardo Piacentini's Madrileño
“Who considers piano just a keyboard or percussion instrument will have to change his mind performing or listening to Riccardo Paicentini's “Madrileño”, composer, pianist (in the Duo Alterno with the soprano Tiziana Scandaletti) and essayist from Turin [...] the tonal pedal and the “mute accords” (keys pressed down without sounding) vivify precious resonant arabesques; while who plays has also to produce, directly on the strings, some glissandos. In 1991 Marcella Crudeli performed in Madrid the first version; this one of 2002 is the third and definitive version [...] the central part is pregnant of dramatic virtuosity; on the contrary the extreme parts request a “reverse virtuosity”, because of the particular timbric and dynamic range of an absolute emotional suspension. Score and attached CD present Piacentini in the triple role, not common, of composer, interpreter and performer.” (Antonio Galanti)

The new Italian Lieder proposed from Duo Alterno
“[...] leading character duo, the Duo Alterno, during many years and with deserved success on the stage of contemporary music (and not only) [...] an excellent brotherhood, which is able in reviving and renewing Lieders'  repertoire [...]” (F. F.)

From “Armidale News” – 18th October 2004

Duo Alterno’s musical Romance
“Duo Alterno in English means ‘alternate pair’ or ‘couple of different elements’.This name fits perfectly to the Duo formed by the pianist Riccardo Piacentini and the soprano Tiziana Scandaletti. The mix of piano and soprano creates something very interesting, especially if you think to works written by Italian composers in 20th Century [...] The high level of maestro Riccardo’s piano performance was harmoniously moulded on the extraordinary voice of Tiziana, which was skill to adapt the expression of her face to each piece she was singing [...] very fashinating Madrileño, composed and performed by the same Riccardo. In this piece inspired to Spain, which he perfomed alone without the voice of Tiziana, maestro was able to make something unic, continuously alternating normal sounds on the keyboard to direct sounds on the strings [...] with “Four popular Songs” the atmosphere became lighter and full of enthusiasm, the sound of Riccardo became more complicate and more dynamic as well as Tiziana’s voice, which sang opening and closing her mouth alternately, with a unic resonant effect.” (ID / U-5)

An electric experience
"[...] This recital sponsored by the Madras Musical Association [...] makes me say: "May we hear more concerts like this!". The soprano Tiziana Scandaletti and the pianist/composer Riccardo Piacentini are quite a pair. Scandaletti's voice is light, expressive and flexible. She also has a commanding stage presence, delivers meaning, both of text and of music, with her subtle use of physical gesture. She has a remarkable control throughout the vocal spectrum: an impressively commanding sound when power is needed, and a haunting intensity at the lowest possible volume levels. Riccardo Piacentini has a remarkable piano technique; and worked wonders with MMA's new piano. [...] Four Popular Songs [by Luciano Berio...] ended the programme. The last of these, a Tarantella, was a rousing finish to a very fine programme. Sung in English, a Russian Lullaby by Casella was the Duo's encore, and turned out to be a sort of lullaby for cabaret singer. Here we got our best chance of the evening to hear how singing quietly with great control can be an electric experience for the listener in the hands of a fine artist." (Randall Giles)

Italians discovers Tagore in music
"[...] the recent Italian concert surprised the Bangalore audience [...] The Italian musicians score for sensitively merging Tagore's texts with the Italian format of music. It is done so effortlessy that it's difficult to differentiate when one listens to the music [...]" (Kavitha Srinivasa)

From Italy with love
"[...] Music-loving Bangaloreans were in for a wonderful treat on Wednesday evening. A concert [...] saw fine performances by the Italian Duo Alterno – Italian pianist Riccardo Piacentini and soprano Tiziana Scandaletti. Tiziana with her clear voice and lovely apple green ensemble, held everyone's attention as she and maestro Riccardo took the select audience through collections from the early 20th century to the works of living composers [...]" (R.)

Lighting stylistical contrasts
"The third appointment of "Rovigomusica 2003" got a warm welcome [...] [In] Riccardo Piacentini's "Rayna possentissima" for soprano and orchestra the solo voice of Tiziana Scandaletti interpreted difficult passages with rare ductility and agility [...] Nice effect that one created in the soft instrumental incipit, developed and then played again in the whispered final [...]" (S. T. B.)

Contemporary music with prestigious soloists
"The 2003 concert season at Social Theater [in Rovigo] goes on with the contemporary music to characterize a high level performance [...] [In program] the prayer "Rayna possentissima" for soprano and orchestra by Riccardo Piacentini, pianist, teacher and composer world reknown [...]" (S. T. B.)

From “The Record” of Waterloo-Toronto – 27th September 2003:

Italian duo offers stunning program of modern works
"[...] on Thursday at Maureen Forrester Hall the Italian composer and pianist Riccardo Piacentini and soprano Tiziana Scandaletti performed a stunning program of works by Piacentini and other notable contemporary Italian composers [...] "Mano mobile clic", written in 2001 by Piacentini, dramatizes an Internet conversation between a man and a woman who are strangers [...] a highly witty yet sweet work [...] part of a Piacentini opera, "Arie condizionate" [...] Piacentini and Scandaletti came into intimate contact with the audience [...] Rarely does one hear the matching of tone, colour, dynamic and range which this pair has so finely honed. Piacentini's photo-music, like that of Canadian R. Murray Schafer, creates new aural landscapes [...] his 1999 Musiche dell'aurora (Dawn Music) [...] is a wonderful, peaceful, reverent work [...]" (Colleen Johnston)

From “Studi Piemontesi” – June 2003:

Alfredo Casella's Lyrichs. The new CD by Duo Alterno
"[...] The excellent CD makes possible appreciating in the best manner Casella’s stylistic evolution [...] One hour of music which you can listened to without pause, seduced by an elegant phrasing, the joke of middle dyes and timbrical reverberations obtained from the two interpreters [...] Scandaletti, encouraged from Riccardo Piacentini’s piano, careful to realize every nuance always without hanging over the melodic line, can take out a variegated and multiform vocality which well suits these music [...] in the exaxcting cycle "L’Adieu à la vie" written in 1915, the real clou-point of this graceful anthology, Scandaletti reveals a rare cleverness in going through different expressions, where Casella’s writing becomes sharp, sometimes livid: her voice gets on the high regions with sureness, but without sourness, and changes itself to softness like velvet in the mid register, while the piano now intervents with sharpness now with far pealing, now with punctuations like thin stalactites, in a phantasmagoric kaleidoscope of imagines. Also very appreciable the idea to insert the "Tre canzoni trecentesche op. 36" [...] The CD concludes with the serie of the coeval "Quattro favole romanesche op. 38" [...] The agreement between the two performers is total in this case too; so you can find a tasty "divertissement", made precious [...] through a vocal emission where charme and malicious underlinings are mixed with a praticly perfect symbiosis, sylisticly close to the "esprit" of Casella’s music [...]" (Attilio Piovano)

From “l'Opera” – July-August 2003:

Alfredo Casella. Lyrichs for soprano and piano
"[...] a very interesting CD [...] a «necklace» of little pearls threaded with intelligence and philological fairness [...] which takes us among the details of the production of a composer that made the continue stylistic search the principal characteristic of his own music. And it is just this forced going across various stylistic stages that makes even more appreciable the malleableness of the two performers of Duo Alterno. Riccardo Piacentini, at the piano, accompanies with a total precision and with chromatic attention which is very rare in the piano accompanists. Tiziana Scandaletti, soprano with an appreciable musicality, performs the different lyrichs with a remarcable interpretative transport [...]" (Enrico Ercole)

From “La Stampa” – 22th June 2003:

Piacentini sings to the «Lost trains»
“In Bussoleno at the Feralp train ecomuseum [...] after Mozart, «Treni persi» (Lost trains) is performed for the first time, Riccardo Piacentini's cantata on texts by Sandro Cappelletto which mixes the troubles of a woman traveller loosing every connection together with the narration (recorded voice) of an old railwayman exalting the beauty of travelling by train [...] It is surely an intentioned allegory the frequent referring to tunnels and elichoidal ways of the train stretch Cuneo-Nizza, that is symbol of dark moments and totuous in the life. Piacentini's music, more allusive than declamatory, never forgets healthy tonal fundaments: the sounds «out of range» are just those ones recorded [...] In the future Piacentini's music will become the acoustic background in the visits [at Bussoleno's ecomuseum] and will go also on a cd.” (Leonardo Osella)

From written declaration of the Director of the Italian Cultural Institute in Los Angeles – 30th April 2003

“[...] maestro Riccardo Piacentini and soprano Tiziana Scandaletti presented an excellent program with 20th Century’s and contemporary music, choosen and performed with admirable professionism and remarkable intelligence, exciting great interest in people and, at the end, an authentic enthusiam.” (Guido Fink)

From “La Stampa” – 26th April 2003:

Casella, a way to modernity. The Duo Alterno reads again the composer from “La Cloche” to “L’adieu à la vie” to the “Favole romanesche”
“[...] Piacentini and Scandaletti have a double merit: to continue in project of making us known a rare and significant repertory and to propose it through a well measured passion, that appears to be the rightest interpretation.” (Sandro Cappelletto)

From “Il Giornale” – 22th April 2003: Voice and piano for Casella’s lyrichs

“[...] One hour of music which you can listened to without pause, seduced by an elegant phrasing, a precious joke of middle dyes and timbrical reverberations obtained from the two interpreters [...] Scandaletti, encouraged from Riccardo Piacentini’s piano, careful to realize every slightest nuance always without hanging over the melodic line, can take out a variegated and multiform vocality that well suits these pages [...] Scandaletti reveals a rare cleverness in going through different expressions, where Casella’s writing becomes sharp, sometimes livid: her voice gets on the high regions with sureness, but without sourness, and changes itself to softness like velvet in the mid register, while the piano now intervents with sharpness now with far pealing, now with punctuations like thin stalactites, in a phantasmagoric kaleidoscope of imagines [...] the agreement between the two performers is perfect [...] charme and malicious underlinings are mixed with a perfect symbiosis.” (Attilio Piovano)

From e-mail of the musicologist Fiamma Nicolodi on 10th April 2003

“[...] beautiful CD with Casella’s lyrichs! It is a meritorious work of which we felt the absence [...]” (Fiamma Nicolodi)

From e-mail of the musicologist Enrico Fubini on 4th April 2003

“[...] wonderful CD [...] really important also from the cultural point of view (Casella was always forgotten by the discography!) [...] very good pianist [...] very good singer [...]” (Enrico Fubini)

From “National Youth Achievement Award” of Singapore – 8th January 2003:

An evening with Duo Alterno of Italy
“[...] an excellent and unusual concert of contemporary Italian music, offered by Ms. Tiziana Scandaletti and Mr. Riccardo Piacentini. Mr. Mah Bow Tan, Mininster for National Development and Chairman of the National Youth Achievement Award Advisory Board, was pleased with the turnout at the event. The residents [...] and guests clearly enjoyed the evening [...]” (James Soh)

From “La Stampa” – 12th September 2002:

Impressionism for voice and piano
“Strange and very interesting program that one proposed from Settembre Musica at the Piccolo Regio Theater in Turin. The Duo Alterno, formed from Tiziana Scandaletti and Riccardo Piacentini, performed four Alfredo Casella’s cycles of songs with strong intensity and passion [...] “Favole romanesche” on texts by Trilussa and “Deux chansons anciennes” show Casella’s sensibility in miniatures inspired from popular songs, while “L’adieu à la vie” written in 1915, on texts by Tagore, reveals a really impressive tragic sensibility [...] one of the most precious things in the 20th Century Italian chamber music which the Duo Alterno since many years cultivates with success through CDs and live performances [...] Concert full of people and smart success.” (Paolo Gallarati)

From “Il Piccolo” – 30 novembre 2001:

Duo Alterno makes discovered the Italian Lied
“[...] the two musicians [Riccardo Piacentini and Tiziana Scandaletti] with cleverness and passion went through an interesting anthology of pieces composed during sixty years of Italian music [...] In the triple role of presenter, pianist and composer too, Riccardo Piacentini explained with distinguished manner the whole performance, started with neoclassic pahos and Stravinsky’s evocations of Petrassi’s ‘Two Lyrichs by Saffo’ written in 1942 to which followed Dallapiccolas’ ‘Three Poems’ [...] Then, with sensibility that only a deep harmony can product, the Duo performed Manzoni’s ‘Du Dunkelheit’ on Rilke’s texts and Solbiati’s ‘Hölderlin Lieder’, both dedicated to the Duo Alterno; from these pieces emerges [...] Piacentini’s skill in helping the voice and lighting the accompainment through unusual pianistic flares.” (Patrizia Ferialdi)

From “Musica e Scuola” – December 2001:

“Riccardo Piacentini, Tiziana Scandaletti, Michele Lomuto: three sacred monsters in contemporary music. Don't you believe it? Insert the CD “Arie condizionate” ["Conditioning Air"] into the player, provide yourselves with Sandro Cappelletto's libretto, sit down and listened to... you will be able to get up only at the end of the CD. [...] “Mano mobile clic, rap fotografico-digitale per dita soliste” by Sandro Cappelletto is extraordinarily strong in comunication [...] our days together in a mix of words, musics, voices. The fantasy and the cleverness of the composer Riccardo Piacentini are extraordinary.” (Michele Gioiosa)

From “il Giornale della Musica” – November 2001:

Photo-musics
“[...] photographing the sounds that surround us [...] then converting them in a grammar where, like in the photography, the glance of the composer is anyway present. Together with the concret materials, very selective and indeed not too realist [...], are mixed Tiziana Scandaletti's agile voice, that introduces into the tissues of the well made texts of Sandro Cappelletto an unexpected, proteinous lyricism [...], besides to the Michele Lomuto's trombon (whose intervents are always timbrically light and cleaver), and a piano fragment that reveals [...] the authentic linguistics direction of the composer [Riccardo Piacentini].” (A. M.)

From “Novosti Nedeli” (Almati, Kazakhstan) – 26th September 2001:

Joke of voice and music
“[...] People appreciated the courage of Riccardo Piacentini [...] His “Madrileño” fashinates, simultaneously, for the expression and the melody. People rewarded Riccardo applauding him with intensity.” (Y. M.)

From “L’Eco di Bergamo” – 17th March 2001:

Through laudas and electronic sounds
“[...] “MIDI laus III” by Riccardo Piacentini represents a succesfull example where, in a lauda, live togheter instrumental and electronic sounds.” (E. B.)

From “L’Eco di Bergamo” – 5th March 2001:

Musical gestures and jokes of words
“[...] the well harmonized and professional Duo Alterno [...] efficacious and winning [...]” (Bernardino Zappa)

From “Il Venerdì” in “la Repubblica” – 2nd March 2001:

[...] the paths of the Great Music
“[...] a courageus attitude of the Duo Alterno (Tiziana Scandaletti soprano and Riccardo Piacentini pianist [...]) realizing a project with the CD recording of [all] the Sacred Works by Giorgio Federico Ghedini. In the first CD there is a beautiful and impressive “Pianto della Madonna” [...]” (Enzo Siciliano)

From “La Stampa” – 17th February 2001:

«Sacred» Ghedini for voice and piano
“[...] artist of first level [...] all Ghedini’s sacred compositions for voice and piano [...] in a CD Nuova Era which proposes three unpublished works [...] The pianistic style is essential but keen on, tense, inventive [...] The pianistic style is essential but keen on, tense, inventive [...] with the interpretation of Riccardo Piacentini, multiform “homo musicalis”: pianist, composer, organizer [...]” (Sandro Cappelletto)

Dal mensile “Suonare News” di gennaio 2001:

“Una suggestiva composizione di Riccardo Piacentini pensata per la sonorizzazione di un’importante esposizione fotografica [...] Ci sembra un’ottima cosa che i compositori si cimentino con questo genere di lavori, soprattutto se ciò avviene con questo rigore e questi esiti. E cioè con un brano che potrebbe tranquillamente affrontare l’esecuzione “live” in un concerto. Riccardo Piacentini dimostra una rara competenza nel trattamento dello strumentario scelto. Una serie di minuzionse indicazioni in testa alla partitura conducono il flautista e la cantante all’esplorazione di una ricchissima tavolozza di timbri cangianti, emissioni particolari, sottili polifonie.” (Giovanni Gioanola)

From the review “Corrente Alternata” (Turin) – January 2001:

Duo Alterno at the Festival Settembre Musica 2000
“[...] wonderful concert. Performers [...] the composer Riccardo Piacentini (here in the role of pianist) and Tiziana Scandaletti, a soprano with a beautiful and unmistakable voice. [...] The Church was so full of people which underlined each piece with great applause and, finally, many times called the performers [...]” (L. T.)

From “The Sun” (Baltimore, Maryland, USA) – 15th September 2000

“A vocal recital devoted to contemporary Italian composers seems positively radical. [...] the 16 attentive folks who checked out Duo Alterno’s concert Wednesday evening at the University of Maryland Baltimore County’s Fine Arts Studio, opening the 17th annual “End of the Edge Performance Series”, were rewarded with dynamic performances of fascinating music. Soprano Tiziana Scandaletti and pianist/composer Riccardo Piacentini explored the current Italian scene and vintage pieces by two giants of modern music [Luigi Dallapiccola e Luciano Berio] [...] Ennio Morricone [...] was represented by excerpts from his 1992 “Epitaffi sparsi” [...] packed with wit and kinetic energy, which the performers relished. One of the most interesting offerings was Piacentini’s “Fugitives” for voice alone, with texts by Baudelaire. The words flow in riveting, unpredictable bursts of speech, song, whispering and humming. Scandaletti revealed quite a flair in this sort of thing. It came through even more theatrically in a wild a cappella piece by Cathy Berberian [“Stripsody”...] Great fun.” (Tim Smith)

From “La Stampa” – 12th September 2000

“[... the prestigious Italian Festival] Settembre Musica opened one of its secundary chapters of the 2000 edition [...] inside a large project [...] connected to the revival of the XXth Century music from Turin [...] who, in the case of [the composer] Giorgio Federico Ghedini, finds an apostle in the clever pianist and composer Riccardo Piacentini, member of the Duo Alterno with the generous soprano Tiziana Scandaletti [...]” (Giangiorgio Satragni)

Dal mensile “Musica Domani” di settembre 2000:

“[...] Fra i meriti del libro [di Riccardo Piacentini “Armonia tonale”, Edizioni Curci, Milano 1999] vi è senz’altro il gusto per la precisione terminologica [...] Molto felice è [...] la reinvenzione della pratica compositiva a partire da un modello armonico di autore. Con il termine “sinopia” Piacentini definisce tale pratica che è sicuramente una delle migliori palestre per l’acquisizione di concetti e procedure armoniche. A un consistente capitolo di canti e bassi dati segue un altrettanto interessante capitolo di “sinope” armoniche tratte da composizioni di vari autori. Splendidi gli indici: indice dei grassetti, indice degli esempi musicali, indice generale, indice della bibliografia [...]” (Francesco Bellomi)

Da Il Giornale del 13 ottobre 2000:

Musica, il sacro non è più tabù -  [...] Piacentini: sì ai messaggi spirituali
“[...] Piacentini - che ha alle spalle solidi studi musicali e classici (si è perfezionato con Donatoni, laureato con una tesi su Petrassi ed è autore di pagine eseguite in prestigiose sedi) - [...] tiene a sottolineare come il suo operare artistico nasca «all’interno di una visione contestualizzata della musica». Afferma di «non credere all’arte per l’arte» [...] «La musica - sostiene - oggi più che mai va calata in un costesto sociale, culturale, soprattutto umano». [...] Questa sera, nella cornice sontuosamente barocca di San Lorenzo, voci umane ed «effetti» elettronici si fonderanno in un singolare mix. Ma non ci sarà sfoggio di virtuosismo creativo: dietro al «virtuale» c’è un uomo che pensa, ama, s’infervora, crede. Riuscirà lo spirito nell’artista del terzo millennio a non farsi fagocitare dalla macchina? Ascoltando [...] Mal’akhim se ne ha la netta sensazione.” (Attilio Piovano)

Da La Stampa del 13 ottobre 2000:

“«Mal’akhim», il dramma spirituale su musica di Riccardo Piacentini [...] ardua e affascinante partitura [...]” (Alfredo Ferrero)

Dal quotidiano La Stampa del 25 marzo 2000:

“Riccardo Piacentini è un attivissimo compositore-esecutore-saggista-organizzatore. La Curci gli dedica un’uscita della sua nuova collana “Campi sonori”: partitura e compact insieme. “Shahar” per flauto basso, soprano (Tiziana Scandaletti) e supporto digitale, è il brano che ha sonorizzato l’ultima Biennale di Fotografia di Torino. Talento eclettico e febbrile il suo, come risulta anche da “Mal’akhim” (Angeli), dramma spirituale nato nel 1997 e pubblicato da Rive-Gauche Concerti in collaborazione con gli Enti locali piemontesi: zampate di inventiva strumentale convivono con soluzioni, soprattutto narrative e vocali, più minimali.” (Sandro Cappelletto)

Da Otto pagine - Quotidiano dell’Irpinia del 12 gennaio 2000:

Il Duo Alterno illumina «Musica in Irpinia» - Grande successo per il secondo appuntamento della Rassegna Internazionale
“[...] Di livelli eccellenti l’esibizione del Duo Alterno [...] Riccardo Piacentini e Tiziana Scandaletti hanno dato vita ad una performance scintillante di musica e canto [...] dentro un percorso che ha attraversato il meglio del Novecento [...] continue suggestioni hanno avvolto il folto pubblico convenuto nella Sala delle Arti dell’Accademia Kandinsky di Avellino. Guidati per mano dal maestro Piacentini, pianista e voce narrante, gli spettatori sono stati condotti lungo le linee concettuali che vanno da Giorgio Federico Ghedini a Goffredo Petrassi, da Riccardo Giavina ad Aldo Brizzi, dallo stesso Piacentini a Maurice Ravel. Con un gradito fuori programma [...] di Luciano Berio, “Canto armeno”, tratto da ”Folk songs”. Autentica chicca per chiudere in bellezza il viaggio tra avanguardie storiche e vocalità dell’ultimo decennio [...] E, alla fine, la fruibilità dell’appuntamento è stata ampiamente rispettata [... con] il pregio di avvicianare un gran numero di appassionati, e non solo di addetti ai lavori, che hanno vissuto con entusiasmo i settanta minuti di intenso spettacolo. Autentiche perle, nell’esecuzione stilisticamente perfetta della coppia [...] le interpretazioni di “Due liriche di Saffo” di Petrassi [...] denso di emozioni l’ascolto delle “Cinque melodie popolari greche” di Ravel, rivisitate in maniera impeccabile. [...] il Duo Alterno ha destato unanimi consensi. [...]” (ca. pi.)

Dalla dichiarazione scritta del direttore del Finnish Museum of Photography di Helsinki, Finlandia del 5 gennaio 2000:

“The Duo Alterno, Tiziana Scandaletti and Riccardo Piacentini, kept a great concert at The Finnish Museum of Photography [...] The performance “Dawn Musics” and the concert were played inside the photograhic exhibition “Light” [...] The people [...] was enthusiatic of the music and the new meanings given to the photograph exhibition.” (Pirkko Siitari) 

Da Il Quotidiano del 18 dicembre 1999:

Successo [...]
“[...] un'operina in prima esecuzione assoluta di Riccardo Piacentini, uno dei più interessanti compositori dell'attuale panorama musicale [...] parodia di un pezzo di circostanza ispirato allo stesso testo adulatorio scritto da Picander per la Cantata dei Contadini: in una divertita sequela di rimandi associativi, il baritono impersona il librettista Picander nell'atto di scrivere un testo di elogio, mentre il soprano è una putta veneziana che canta in onore di “Sua Committenza” [...] Nella presentazione lo stesso autore ha sottolineato il messaggio affidato al suo lavoro, esprimendo l'auspicio che la musica “colta” contemporanea trovi la sua legittimazione e pregnanza contestuale nel “servire” senza essere serva, nella applicazione in prospettiva sociale, pur senza trascurare le sue finalità estetiche.”

Da La Gazzetta del Mezzogiorno del 13 dicembre 1999:

“Una creazione «commissionata» ad hoc dai Solisti Dauni a Riccardo Piacentini, giovane e dotato compositore. Si trattava di Picander's, o Il grigliabeto risonante, riuscita parodia di un «pezzo di circostanza», come se ne creavano ai tempi di Bach e realizzato con arguzia e mano felice, con taglio spiccatamente teatrale. Musica stuzzicante, rinforzata con un abile patchwork di temi tratti dalla Primavera di Vivaldi e che si conclude con l'andamento di una Chanson à boire, rivissuta scenicamente con molto realismo (non a caso, il tutto ha avuto un festoso epilogo a «tarallucci e vino», intendendo questa definizione nel senso migliore del significato). [...] Il pubblico, direttamente coinvolto nel finale dello spettacolo, è stato largo di sinceri consensi, condivisi dagli interpreti e da Riccaro Piacentini, presente in sala.” (Nicola Sbisà)

Dalla relazione del Direttore del Dipartimento di Musicologia dell'Università di Aarhus, Danimarca del 9 novembre 1999:

“[...] The program was Italian Contemporary Music - a avery interesting program performed most convincingly in a musically competent and expressive way by the two artistis. The audience was thrilled by their skill and the sympathetic and knowledgable manner in which Mr. Piacentini introduced the program. On the day after [...] the two artists lectured and performed at a 2-hours guest lecture for students and staff at the Department of Musicology. During this they analyzed charactteristic trends of the Italian Vocal Music in this century. Again it was a most interesting and impressive exprerience with several well chosen examples performed live and on CD.” (Karen Juul-Olsen)

Dalla relazione del Direttore dell'Istituto Italiano di Cultura di Oslo, Norvegia del 26 ottobre 1999:

“[...] un concerto del Duo Alterno [...] per celebrare l'inizio della Settimana del Cinema Italiano presso la Cinemateket di Oslo. Nel vasto repertorio dei due noti musicisti italiani particolare attenzione è [...] dedicata alla ricerca artistica di Ennio Morricone, non solo quale autore di celeberrime colonne sonore, ma anche di raffinate composizioni sperimentali, che il Duo alterno ha saputo interpretare con estro e originalità. Diviso in due parti, il concerto si è sviluppato attraverso le musiche originali del maestro Piacentini e l'interpretazione canora di Tiziana scandaletti, suscitando, nel pubblico presente, viva emozione. [...] straordinaria performance [...] tangibile testimonianza della grande tradizione musicale italiana novecentesca.” (Carlo Chiesa)

Dal quotidiano La Stampa del 21 luglio 1999:

Un nuovo disco. Il compositore torinese Piacentini ci fa sentire in musica la vittoria degli angeli buoni su quelli cattivi
“Un notevole lavoro del compositore torinese Riccardo Piacentini è uscito in un cd della Nuova Era. E' “Mal'akhim”, che in ebraico significa “Angeli”. L'opera venne eseguita in prima mondiale a Vancouver nel 1997 e successivamente è stata presentata nella Cattedrale di Torino in onore dell'Arcivescovo Cardinale Giovanni Saldarini, nell'allestimento del Teatro Regio. Piacentini ha creato la partitura ideando tre piani di sonorità: un ampio spiegamento corale che rappresenta la “terrenità”, le elaborazioni sonore elettroniche che [...] portano a una dimensione trascendente, l'organo che funge da tramite fra le prime due dimensioni [...] La musica è sapientemente giocata appunto fra una concretezza ben palpabile nel gioco delle voci, corali e singole, che si intrecciano in un dramma sul quale, pur nelle sue dimensioni apocalittiche (Paradiso e Inferno), aleggia costantemente un'aura positiva, rassicurante, come a dire: guardate che alla fine sarà il bene a trionfare.” (Leonardo Osella)

Dal quotidiano Roma del 3 giugno 1999:

Viaggio nell'eclettismo sonoro
“[...] E' a questi bellissimi versi di Rainer Maria Rilke che il compositore Giacomo Manzoni si è ispirato per il suo “Du Dunkelheit”, un'elaborata partitura musicale ”per voce e suoni sparsi di pianoforte” scritta appositamente per Tiziana Scandaletti e Riccardo Piacentini [...] Ed è proprio la performance di questo duo che ha caratterizzato in positivo parte del programma [...] con cui si è conclusa la terza edizione della rassegna [...] “Musica Mille Mondi”. [...] la succitata composizione di Manzoni, stupendamente interpretata da Riccardo Piacentini e Tiziana Scandaletti, la cui voce è quanto di più affascinante abbiamo ascoltato nel corso degli ultimi tempi. I due artisti sono stati anche protagonisti del brano che ha chiuso il concerto, “Fugitives”, [...] ispirata ad un testo di Baudelaire (realizzata da Piacentini nel corso di quattro lunghi anni di studio e ricerca) in cui ogni più sottile sfumatura della voce umana ed i connessi problemi fisiologici si trasformano in emozione pura.” (Francesco Urbano)

Da Vecerny Tashkent (Uzbekistan) del 10 maggio 1999:

“Il IV Festival Internazionale della Musica Moderna e del Teatro Ilkhom-XX [...] ha offerto una serie molto interessante di concerti. Tra gli ospiti c'erano artisti venuti a Tashkent per la prima volta e c'erano anche [...] “i vecchi amici”. La cantante Tiziana Scandaletti e il pianista Riccardo Piacentini del Duo Alterno sono senz'altro tra loro. Come un anno fa, anche questa volta gli artisti sono venuti a Tashkent con un programma bello e stimolante. [...] Il pubblico ha soprattutto apprezzato la favola musicale per bambini “7x7+7”. Quest'opera ha colpito gli spettatori in particolare per il suo straordinario carattere [...]” (Pietro An, trad. dal russo di Rosanna Piani Moore)

Dalla relazione scritta del Reggente dell'Ambasciata d'Italia di Tashkent, Uzbekistan del 27 aprile 1999:

“Il Duo Alterno [Tiziana Scandaletti soprano e Riccardo Piacentini compositore e pianista] ha eseguito concerti di grande valore artistico ed ha riscosso notevole successo in ogni manifestazione. Le capacità professionali degli artisti, unite alla loro estrema disponibilità e simpatia, rappresentano l'Italia al meglio in ogni occasione.” (Il Reggente dell'Ambasciata Giovanni Colella)

Da Gränslöst - Magasin för samtida musik (Svezia) di marzo 1999:

La capra mangia i muri
“Liriche cittadine, questo il titolo del lavoro di Piacentini, è [...] un lavoro davvero sorprendente. Il pezzo, in cinque movimenti, per soprano e clarinetto basso [...] è una toccante interazione tra fonemi e parole mormorate, dette, sussurrate, che a volte si trasformano in arabeschi melodici ed in gridi metallici. Un lavoro davvero interessante!” (Guido Zeccola)

Da Il Messaggero del 22 febbraio 1999:

Serate di grande musica per ascoltatori in erba
“[...] 7x7+7, un gustoso collage di filastrocche, immagini e nastro magnetico sapientemente realizzato dal compositore Riccardo Piacentini e bene interpretato da Tiziana Scandaletti.” (Luca Della Libera)

Da La Stampa dell'8 febbraio 1999:

Il Duo Scandaletti-Piacentini - «Esotismo e Musica» un omaggio a Petrassi e all'ebraismo di Ravel
“[...] diverse vocalità, soluzioni sonore, contrasti emotivi. Basti ricordare come la Scandaletti ha reso l'essenzialità cui perviene il primo dei «Tre Poemi» di Dallapiccola con quei cenni di suono al pianoforte, o come un singolo verso, «Ogni cosa a morte arriva», del secondo Poema su testo di Michelangelo, prende improvviso le distanze da un clima sonoro attraversando l'aria con lapidaria gravità. Nella «Chanson perpétuelle» di Chausson il Duo si è felicemente misurato con la dolcezza racchiusa in quel «Tu m'aimeras» e con lo squarcio vocale conclusivo così pregnante [...] Di Ravel, la Scandaletti e Piacentini hanno scelto le «Cinq mélodies populaires grecques». Con spiccata presenza scenica, la soprano ha reso il trascolorare dei variegati stati emotivi da cui si può estrarre la raffinata esecuzione di «Laggiù verso la chiesa». Appalusi, prima del suadente «Canto Armeno» fuori programma, sono piovuti su «Kaddisch», la prima delle «Deux mélodies hébraiques» di Ravel, dove la concentrazione del testo in aramaico si dispiega sulla diversità di quei due «Amen», il primo sospeso su una rarefatta eternità, il secondo calato nelle terrene volute di una preghiera.”  (Aurora Blardone)

Dalla relazione del Console Italiano di La Plata (Argentina) del 13 gennaio 1999:

“Il Duo Alterno, adeguandosi alla finalità della loro istituzione, ha proposto ad un pubblico selezionato un concerto-immagine, avvalendosi di contributi musicali del panorama del '900. La rappresentazione ha avuto un taglio fortemente innovativo, valido per la esperienza e d'impatto.” (Il Console d'Italia Giulio Alaimo)

Da La Stampa del 21 dicembre 1998:

Un amore tra angeli sobrio e suggestivo scritto da Piacentini
“[...] il suo arredamento sonoro è quanto mai sobrio e, proprio per questo, [...] suggestivo. Il nastro magnetico crea l'atmosfera con suoni per lo più momentanei: molte campane ed effetti di pizzicato che punteggiano uno sfondo di suoni tenuti, rombi maestosi, oppure fruscii e sibili leggeri. L'esecuzione diretta con molta partecipazione dall'autore [...] Il successo è stato molto vivo.” (Paolo Gallarati)

Da La Stampa del 18 dicembre 1998:

L'ultima creazione di Piacentini [...]
“Dopo anni di frattura dal gusto comune e di quasi orgogliosa incomunicabilità con il pubblico, la musica contemporanea, pur senza rinunciare ai propri percorsi di ricerca, si apre alle istanze artistiche universali e si riappropria di quell'ampio settore estetico che le avanguardie più intransigenti le avevano negato. Si muove in questo senso [...] «Mal'akhim», ovvero «Angeli», l'ultima creazione di Riccardo Piacentini, programmata in prima italiana - dopo il lusinghiero esordio internazionale a Vancouver nel febbraio dello scorso anno - al Duomo di Torino [...] in onore del Cardinal Saldarini [...] una riflessione sulla filologia angelica [...] un omaggio alle antiche Sacre Rappresentazioni, di cui condivide spirito e sostanza, pur nell'economia tipicamente moderna dei mezzi musicali.” (Alfredo Ferrero)

Dalla lettera del Rabbino Capo della Comunità Ebraica di Torino del 17 dicembre 1998:

“Mal'akhim [...] un'opera di profondo interesse soprattutto per il recupero del senso del sacro, oggi spesso offuscato, attraverso quel prezioso veicolo che è la musica. [...] Le auguro tutto il successo che merita.” (Rav Alberto M. Somekh)

Da un articolo della musicologa e pianista argentina Alicia Correas del 26 ottobre 1998:

“Dìas pasadas, precisamente el martes 6 de octubre, en el Club Italiano, los rosarinos tuvimos la posibilidad de asistir a un exvelente e inusual conciuerto de musica contemporànea italiana. Estuvo a cargo del “Duo Alterno” integrado por la soprano Tiziana scandaletti y el pianista y compositor Riccardo Piacentini [...] La calidad artìstica sugiò notable desde la primeras notas atacadas con rigor estilìstico y profundo toque expresivo en la obra de Goffredo Petrassi [...] pasando por Mario Bortolotti, Franco Oppo, Aurelio Samorì, Cathy Berberian, Luca Lombardi y el propio Riccardo Piacentini. Este joven compositor nacido en 1958 nos atrapó per su expresividad, la calidad de su toque pianìstico [...] y nos informó con sencillez y gran simpatìa sobre las caracterìsticas de las diferentes obras. Como compositor “Fugitivas” [...] asì como “Madrileño” [...] fueron una revelación de su talento musical. [...] En suma un concierto exquistito para exquisitos.”(Alicia Correas)

Dalla relazione del Console Italiano di Mar del Plata (Argentina) dell'ottobre 1998:

“Il 5 ottobre 1998 [...] si è esibito, nel Teatro Colòn di Mar del Plata - il più prestigioso della città - il Duo Alterno, con [...] Riccardo Piacentini e [...] Tiziana Scandaletti. Il Duo Alterno ha presentato una scelta significativa di brani e pezzi vocali della musica classica del '900. Il programma, assai coerente nelle scelte operate, tendeva ad offrire un tipo di musica, quella contemporanea per l'appunto, abbastanza complessa [...] per un pubblico non competente. Tuttavia, la grande professionalità, il rigore senza concessioni del Duo, ha operato nella direzione di ottenere un'attenzione da parte del numeroso pubblico, risvegliando una curiosità verso i fatti culturali del '900, che ci sono contemporanei e sconosciuti al tempo stesso, ed imponendo una riflessione sulla ricerca musicale del nostro tempo. Per la città di Mar del Plata è stata la prima esperienza musicale di questo tipo ed è stata accolta con concentrazione e curiosità davvero apprezzabili.” (Il Console d'Italia Fabrizio Marcelli)

Da La Stampa del 18 settembre 1998:

Riccardo Piacentini
“Riccardo Piacentini è uno dei più promettenti giovani compositori italiani. Al suo attivo ha un elenco impressionante di successi in Italia e all'estero, soprattutto in Australia, in Argentina, in Canada dove ha tra l'altro già rappresentato il suo dramma spirituale «Mal'akhim» che sarà eseguito in Duomo a Torino in dicembre. Riccardo Piacentini è ben conosciuto anche come un'artista piemontese doc: è infatti l'esecutore - e di alcuni brani l'autore - di un interessante compact di musica piemontese classica rivisitata in chiave moderna. Con lui al pianoforte, spesso canta il soprano Tiziana Scandaletti, anche lei con un curriculum di concertista di tutto rispetto. Il loro duo si chiama «Duo Alterno»." (Dada Rosso)

Da Syrinx di febbraio 1998:

Omaggio a...
“La produzione flautistica di Riccardo Piacentini è di notevole interesse [...] Amariamori è un brano di grande fascino e inventiva. In questo pezzo, strutturato in sei pannelli perfettamente simmetrici [...] ogni pannello è caratterizzato da precisi eventi sonori che si susseguono incastrandosi ad altri scelti oculatamente tra i più congeniali al flauto in sol. Tale progettualità elimina il rischio di un catalogo degli effetti, che si presentano particolarmente numerosi in quanto servono [...] all'articolazione stessa del brano [...] Di Amariamori Piacentinicosì scrive: Non c'è contraddizione tra contraddizione e coerenza. Amariamori è il convivere di questi due aspetti: ciò che permane ed è coerente e ciò che è contradditorio e muore, o sembra morire, subito. Nella realtà, ciò che muore genera e finisce per essere la vera coerenza, la contraddizione che non si dimentica. Ancor più recentemente Piacentini ha composto Shahar (Aurora) per flauto basso [...] Nella melodia di suoni naturali si innestano i suoni neutri in funzione di mutazione timbrica del suono; i suoni neutri prendono poi il sopravvento sommergendo i suoni naturali residui. E' qui che Piacentini riesce a creare uno dei punti di massima suggestione di questa bellissima composizione: su di un pedale generato da un tremolo lunghissimo di suoni neutri emergono, come brevi luminescenze, alcuni suoni ammiccanti ad atmosfere orientali [...] originalissima sensazione uditiva di un suono indistinto, lontanissimo e vibrante." (Mario Caroli)

Da Il Resto del Carlino del 27 luglio 1997:

Cattedrale [...] in concerto
“Interessante, originale, creativo il Jazz motetus III di Riccardo Piacentini [...] novità assoluta, carico di invenzioni ed effetti cromatici." (Alberto Pierucci)

Da Le Soleil del 2 marzo 1997 (da Vancouver, Canada):

Une première mondiale
“Piacentini a du talent à revendre; son ouvre est féconde [...] d'heureuses trouvailles sonores et harmoniques. [...] une soirée essoufflante de beauté et de drame. [...] La musique, surtout d'origine informatique, était aussi passionnée que le sujet de l'opéra." (Nigel Barbour).

Da Il Secolo XIX dell'8 dicembre 1995:

Al San Filippo non solo classica
“Con 7x7+7 (spettacolo inedito di Riccardo Piacentini con il soprano Tiziana Scandaletti), si è inaugurata la porzione genovese del Festival Il Giocattolo [...] 7x7+7, ovvero Otto filastrocche per voce di mamma e nastro magnetico è una performance nata dall'esperienza sul campo del compositore Riccardo Piacentini, dai pianti e melologhi di suo figlio Leonardo (due anni) e dalle fiabe fredde costruite sulle cantilene del drammaturgo Alfonso Cipolla. Non un'operazione di etnomusicologia, ma un esperimento suggestivo anche per un pubblico adulto che unisce la linearità tonale delle filastrocche alla complessa struttura contrappuntistica ed alla evoluta collaborazione elettronica dei suoni.” (Giorgio De Martino)

Da La Stampa del 18 maggio 1995:

Musica, te la suono e te la spiego
“Piacentini ha sfruttato le peculiarità vocali della Scandaletti scrivendo Fugitives. Tre frammenti da Baudelaire in cui vengono spezzati i confini tra recitazione e canto in una singolare realizzazione che la Scandaletti ha interpretato con maestria." (Aurora Blardone)

Da le Méridional del 16 aprile 1995 (da Marseille, Francia):

Musiques d'aujourd'hui 95: “Aus Italien”...
“...Juste avant Riccardo Piacentini dont le Switch commute sur le dramatique, en une écriture ferme." (Lucien Guérinel)

Da la Repubblica del 5 aprile 1995:

Piacentini affascina con il suo Cantico spirituale
“...la vera sorpresa è stata una pagina di Riccardo Piacentini. Cantico spirituale il titolo, solo una voce (quella del baritono Alberto Jona) sulla scena, un'ipnotica, avvolgente melodia a scivolar via dalla partitura. Per questa pagina Piacentini [...] si è inventato un modo di procedere davvero affascinante. Le frasi sono morbide e distese, la ricerca si concentra su dettagli di particolare piacevolezza (è molto bello, ad esempio, il passo in cui Jona fa scorrere rapidamente il testo cantandone soltanto le nasali) e il risultato, in chiara ed evidente complicità con l'interprete, è qualcosa che i vari ricercatori di melodie per il nuovo secolo dovrebbero tenere presente.” (Nicola Campogrande)

Da La Stampa del 3 ottobre 1994:

Ninna nanna, così bella e insolita
“Momento di tenerezza nelle Musiche per Leonardo di Riccardo Piacentini, in cui il testo di Alfonso Cipolla (un'insolita ninna-nanna) viene calamitato da un ipnotico gioco di suoni che la dolcezza di Tiziana Scandaletti intreccia intorno al riposo del suo bambino." (Aurora Blardone)

Da The Sun-Herald del 6 marzo 1994 (da Sidney, Australia):

The essential touch of that certain feeling
“Riccardo Piacentini's Amariamori consists of six short movements which produce an extraordinary array of sounds from the solo flute, spitting, breathing and whistling into the instrument, tapping the keys (almost a standard technique nowadays). In this brilliantly accomplished performance it was less gimmichy than it might seem, with eerie nocturnal and even lyrical moments." (John Carmody)

Da Cd Classica di luglio/agosto 1993:

Musica contemporanea su Edipan
“Di eccellente fattura è Strick II di Riccardo Piacentini, brano dalla scrittura contrappuntisticamente complessa, tesa e dinamica; la linea continua di semicrome iniziale trova requie solo in una seconda sezione più calma che rimane volutamente asimmetrica, impedendo così comodi confini ricettivi entro i quali collocarla."
(Carmelo Di Gennaro)

Da una lettera di Goffredo Petrassi del 27 maggio 1988:

“Caro Piacentini, Le dovevo un cenno di ricevuta della sua cassetta [...] Le dico subito che l'impressione generale è molto positiva. Dall'archetipo dei pezzi per chitarra agli ultimi lavori c'è un enorme balzo di abilità tecnica e qualità di invenzione. Non sono uso dare pareri o giudizi per corrispondenza, ma Le confermo di esserne stato impressionato. Posso osare di dirLe un punto di preferenza per i tredici archi? Ma tutto è un precipitare di interesse fino all'ultimo pezzo. Ha lavorato bene." (Goffredo Petrassi)

CDs

You can go through a whole catalogue of the CDs with PIACENTINI's music clicking on the following animated gif...

Recent CDs (1999-2007):
• Riccardo Piacentini - Mal'akhim (monographic CD with Giovanni Moretti actor, Luca Dordolo tenor, Tiziana Scandaletti soprano, Mario Tento bariton, Lorella D'Amico mezzo-soprano, Massimo Nosetti organ, Riccardo Piacentini director, Nuova Era 1999),
• Riccardo Piacentini - Musiche dell'aurora [Dawn Musics] (monographic CD, “foto-musica con foto-suoni” with Tiziana Scandaletti soprano, Anna Maria Morini bass flute, Fondazione Italiana per la Fotografia 1999),
• Riccardo Piacentini - Shahar (monographic CD with Tiziana Scandaletti soprano, Anna Maria Morini bass flute, Curci 1999),
• Musiche per Pellizza da Volpedo (Tiziana Scandaletti soprano, Ensemble Nuovo Contrappunto, Mario Ancillotti director, Nuova Era 2000),
• Giorgio Federico Ghedini - Sacred Music (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Nuova Era 2000),
• Antonio Segafreddo - Percussion solos and percussion in chamber music (Antonio Segafreddo percussions, Rivoalto - Sonàr 2001),
• Riccardo Piacentini - Arie condizionate (Air conditioning) (monographic CD, “foto-musica con foto-suoni” with Tiziana Scandaletti soprano, Michele Lomuto trombon, Fondazione Italiana per la Fotografia 2001),
• Giorgio Federico Ghedini - Canti e strambotti (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Nuova Era 2002),
• Nuovo Contrappunto. Omaggio a Bellini e Verdi [Nuovo Contrappunto. Homage to Bellini and Verdi] (Ensemble Nuovo Contrappunto directed by Mario Ancillotti, TayKay 2002),
• Alfredo Casella - Liriche (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Nuova Era 2003),
• Riccardo Piacentini - Treni persi [Lost trains] (monographic CD, “foto-musica con foto-suoni” with Tiziana Scandaletti soprano, Milano Classica Orchestra conducted by Massimiliano Caldi, Rive-Gauche Concerti and Province of Turin 2003),
• Franco Alfano - Liriche da Tagore (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Nuova Era 2004),
• Riccardo Piacentini - Mina miniera mia [Mina my mine] (monographic CD, “foto-musica con foto-suoni” with Tiziana Scandaletti soprano, Bajolese Choir, Rive-Gauche Concerti and Province of Turin 2004),
• Riccardo Piacentini - Musiche della Reggia di Venaria Reale [Musics of Venaria Reale Castle] (monographic CD, “foto-musica con foto-suoni” with Tiziana Scandaletti soprano, Mario Tento bass-baryton, Sandro Cappelletto speaker, Academia Montis Regali, Rive-Gauche Concerti and Piedmont Region 2004),
• La voce contemporanea in Italia, vol. 1 [The Italian Contemporary Voice, vol. 1] (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Stradivarius 2005),
• Dalla terra al cielo [From earth to sky] (PantoDuo with Paolo De Gaspari bass clarinet, Antonella Chiuchiolo piccolo clarinet, Alessio Brocca Edizioni Musicali 2007),
• Italienischer Gesangsabend mit dem Duo Alterno [Italian Evening Songs with the Duo Alterno] (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Steirischer Tonkünstler Bund 2007),
• La voce contemporanea in Italia, vol. 4 [The Italian Contemporary Voice, vol. 4] (Duo Alterno with Tiziana Scandaletti soprano and Riccardo Piacentini piano, Penderecki String Quartet, Stradivarius 2008).

Other CDs with Riccardo Piacentini as pianist are at the WEB site of the Duo Alterno.

WRITINGS

Since '80s to today Riccardo Piacentini has published several writings which we can synthetize in four main categories:
• didactic texts for musical schools (published by Curci [Milan] and Edipan [Rome]),
• articles and musicologic essays (since the graduation thesis on Goffredo Petrassi's music to numerous publications on newspapers, CD-roms and reviews like Nuova Rassegna Musicale Curci, NC News, Konsequenz, Sud and others),
• specialistic reports from international meetings (like the recent ones in Turin and Rome about Music today and spirituality),
• interviews (on graduation thesis, WEB sites and specialistic reviews),
• specific writings on “foto-musica con foto-suoni”© (go to www.rivegaucheconcerti.org).

You can go through a whole catalogue of PIACENTINI's writings clicking on the following animated gif...

Rive-Gauche Concerti
Phone and fax +39.011.6614170
Strada degli Alberoni 12/22, 10133 Turin (Italy)
rgauche@arpnet.it

Copyright © 1998, Rive-Gauche Concerti
Creation May 15th 1998
Last update August 28th, 2010

 
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