As impossible as it is to define it in words, I can say without hesitation that the origins of my music are deeply immersed into the idea of space. Beyond all its phenomenological or merely intuitive meanings, space represents a musical aspect that I have been researched since at least 2003, whose powerful poetry never stops to have a strong influence on my musical thinking. Such path has leaded myself and my music through very diverse experiences by conceiving works like FINESTERRAE (2016), FORCES MOTRICES (2010), IUS LUCIS (2006/2007 – for two ensembles in two concert halls), FIBRAE (2005 – for two soloists, chamber orchestra and live-electronics), STRALI (2002 – for voice, orchestra and electronic sounds) just to name some of them. A constant curiosity toward a strict interaction between acoustic instruments and live-electronics has lead me to share the expertise of some among the most interesting institutions in Europe, meeting bright and devoted people who allowed me to collect many precious experiences. For, later, I have transformed many achievements coming from electronic music practice into my own musical vocabulary, nowadays still in progress, translating them also into the world of acoustic and traditional instruments: so that technology has been transcended into pure expressiveness. I have also tried to conceive worlds that are sometimes very dense and demanding for listeners, and sometime so expanded in time to become almost melancholic (SONNET X, 2008 – for tuba and live-electronics), trying to reach the most possible degree of communication like in SONGS OF ANXIETY (2012 – for amplified flute), without falling into obvious solutions. A lyrical abstraction, as to speak, could be the key-word for compositions like AQUAE (2014 – for ensemble), ODI DI LEVANTE (2008 – for six instruments) or LASCO (2010 – for seven instruments), while a certain eclecticism dictated by my personal need to create a broad diary-like opus, finds place in the series of BOOKS (the most recent ones A BOOK OF WAVES, 2011 – for Theremin, Ondes Martenot and live-electronics, issued from my travels along the coasts of Japan and A BOOK OF FORMS, 2013 – inspired to Richard Serra's writings, dealing with immersive sound-projections), where each one of those represents an unique attempt to recreate in sounds those images, experiences, that literature and that culture I have met, known or perceived. And for every composition I had the privilege to hear I have met incredibly skilled and competent musicians who helped my imagination to become true, like Jonathan Stockhammer, Salome Kammer, Kousei Murata, André Richard, Arturo Tamayo, Evan Christ or the Ensemble Musikfabrik, Ensemble Intercontemporain, Ensemble Modern, Sharoun Ensemble, e-mex ensemble.... Finally, I cannot forget the words of some among the teachers and mentors I came across until now: Peter Eötvös and his ethic example, Emmanuel Nunes and the few but precious teachings, York Höller who indicated me a direction right at my beginnings, Hans Zender with his keen reflections I still have in mind. Website: www.valeriosannicandro.eu Valerio Sannicandro is edited by Edizioni Suvini-Zerboni (Milano, Italy)

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