Since 1994, the fundamental aim of the project Autunna et sa Rose is to reach a synthesis of various arts, in particular poetry and music. From a specific musical point of reference, the compositions can be classified in an avant-garde contemporary-classical style, drawing most of their inspiration from several 20th-century authors, and from some of the new century as well.
Over the years, it is worthwhile to mention some collaborations, such as the one with Steven Brown from Tuxedomoon in the music-theatre opus album Sturm (2002) and with Ataraxia in the acoustic live double-CD Odos eis ouranon (2005); more recently, the participation to Rete dei Solchi sperimentali and to some Solchi Sperimentali Fests, promoted, starting from 2016, by the writer Antonello Cresti. In 2018 a composition was the subject of the paper Dreamlinks: Link Theory Meets Music Composition. An Introduction to Compositional Methods Related to Primary Links, presented at the 21st Bridges Conference in Stockholm.
The combined word teatromusica (theatre-music) has been often used to relate to the artistic genre the project has always proposed, with the meaning of a form that is just firstly musical, embodying in fact some clear aspects and connotations of theatrical substance: in a more extensive sense, it lies at the intersection point of several expression forms, where it generates a fusion of arts in an all-embracing harmonized unit, able to widen the emotional and perceptive range of the spectator. For this reason, over the past few years, our interest in video production has grown, and some short films have been created and used as background projections during the shows, with the intent to offer a more complete interpretation and a broader overall view.
Following these ideas, the new work entitled Stalker/Zone (SZ, LP – 100 numbered copies, out in December 2023) is issued, a sort of experimental “psychological soundtrack” for the film Stalker (1979) by Andrej Tarkovskij. This project was conceived to offer an in-depth musical interpretation of the film, going beyond the rules of traditional soundtracks. Actions, behavioral patterns, feelings and fleeting thoughts of the three main characters are analyzed extensively, in a musical opus consisting of notes and sounds which are an interpretation of images and of their underlying meaning, and of the psychology of the three protagonists, paired with an analysis of the philosophical connotations hidden in the movie.
One piece composed for Stalker/Zone was the starting point that led to the publication, in April 2026, of the paper From Lemniscate to M. Pistoletto’s Third Paradise Curve: Music as a Synthesis of the Relationship between Art and Geometry (Dalla lemniscata alla curva del Terzo Paradiso di M. Pistoletto: musica come sintesi del rapporto tra arte e geometria), issued in the scientific journal d.a.t. divagazioni audio testuali. This paper is based on research predicated upon the oeuvre of the Italian artist Michelangelo Pistoletto, with particular emphasis on his Third Paradise curve, in comparison with the lemniscate of Bernoulli. The work exemplifies the interplay among music, art, and mathematics, showing how music (free from market logic) can embody a synthesis and serve as a conduit for delving into profound connections with spirituality.
The author and composer is available for artistic collaborations, such as soundtracks and music for theatre, music production, sonic projects and (video-) installations, poetry reading or theatrical performances.
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