Raffaele bellafronte biography channel

Raffaele Bellafronte b. After many years of research and experimentation in the recording studios, Bellafronte's work has progressed from a model whereby ideas are expressed, achieved, proposed in their final definitive mode via audio supports to one wherein the composer re-traces and re-elaborates the compositional strategies of previous centuries into new and exciting music.

Besides composing, Raffaele has been directing various venues. He has taught in several Italian Conservatories and today he teaches at the Conservatory of Campobasso. On April 7, at the Teatro alla Scala in Milan it was performed Midnight plays for clarinet, cello and piano. His works and publications are available through most major music catalogues worldwide.

In he received the prestigious Golden Guitar Award for the composition from the 22th. International Guitar Convention in Alessandria Italy , on the occasion of the 50th edition of the. It has a strong communicative character without slavishly tracing traditions that can no longer be exhumed. It shows an enviable tenacity in blending singing qualities, tonal propensities, and paroxysmal ostinatos that never expire in minimalism.

Raffaele Bellafronte (b.

It lives off an expressive density that is also made of harmonic harshness. It exhibits a stubborn lack of craftiness in building a sound world full of points of support, while at the same being never fully predictable. Nonetheless, it has the felicitous happenstance not to present itself only as such to the listener: it moves, pulsates; it lives beyond and above possible exegeses; it narrates something that ultimately makes one want to listen to it time and again.

Sometimes it actually does, ironically, however always towards itself — never towards the listener. Bellafronte is not a composer in search of the new for its own sake: he is not afraid of using tradition and transcend it through a language that is always direct, original, and communicative. Modal and tonal harmony are constantly challenged, disrupted through dissonances that never obfuscate the underlying clarity of the musical narrative.

His neoclassicism, should we prefer to define it that way, is therefore not linguistic or stylistic, but philosophical in nature.