13 hours Friday, February 18 interview with Lucia D'Errico Angelo Andrea Aguzzi 
Andrea Aguzzi: The first question is always the classic: How did your love and concern for the guitar and what sounds or instruments you've played? What is your musical background?
Lucia D'Errico: Even as a child I always listened to lots of music, especially classical, and guitar in hand I saw that my dad played as an amateur. My sister started playing the piano very early, but despite this enormous wealth of stimuli have not ever considered the idea of \u200b\u200bplaying an instrument until the age of eleven, I had more important things to do myself - of course, play and fun! Then convicts were the Beatles listening to an album which I peg away wanting to play the song "Yesterday" on a guitar that my dad had bought second-hand (and I still fondly) and since then I never stopped. In short, I can say he never stopped playing, with or without a guitar in hand ...
My main instrument is classical guitar, but over the years I had fun experimenting with some of its forms: electric bass, steel-string, oud, balalaika, charango ... Interested in the composition, I learned to get their hands on the piano, and would benefit from a completely different approach to harmony and musical scale. In some leisure time I enjoy playing the tambourine - and fascinating tool infinite and last thing that helped me a lot, I learned some rudiments of singing. Sound for five years on the novel spruce and maple, and two on a Fender Start.
As I told you the music - let's call it - has always had a classical dominant role in my plays. But I am curious to any musical event, and my latest passion is the music of cultures very different from mine. And if in the years conservatoire I'm a little 'plays away from the "rockers" of adolescence, now I come back more often with renewed curiosity and fun. No coincidence that some of my favorite composers are those that combine sound research and formal or commercial popular genres: Romitelli, Ligeti, Bartok, Mahler, Schubert ...
Andrea Aguzzi: You graduated from the Conservatory B. Marcello "of Venice under the guidance of Thomas De Nardis and are achieving a high specialization course in performance at the Birmingham Conservatoire (UK), focusing on the contemporary repertoire. How do you find in Britain? Want to talk about this Master?
Lucia D'Errico: Thomas De Nardis was a great leader, both in terms of human and artistic in Italy so I was very lucky. His vision of teaching and unparalleled avant-garde in some respects, I found pleasure in the organization of the Birmingham Conservatoire, but this time to high school. Unfortunately, a great teacher is not enough: the ideas they need a supportive environment in which to grow, and the conservative Italian is still very far from cooperative atmosphere, and purposeful life that I'm breathing in Birmingham - even if people who strive to change things in this way are many, and I hope will have great luck. The master is a kind of tour de force for performers: three major concerts, including one with orchestra, plus many opportunities to prove himself. And seminars on psychology for interpreters, professional development, aspects of performance ... I just started and the impression is that there is still plenty to discover.
Andrea Aguzzi: Make the FramEnsemble we have already interviewed in the blog and sounds in a duo with Michael Caserta, how the activity of the Ensemble and Duo?
The group is growing more and more for the future projects are many, and very intriguing to me. It is not only to bring new music, but to link our activities to other musical reality, so that they get curious as much as possible, and intrigue in our turn. This vision of Frame fits in with my most: make music, but with it we talk about many other things. In short we want to get out of the ivory tower, and perhaps begin to undermine the foundations. Music that speaks only to itself and of itself can be beautiful, but it becomes autistic.
With Michael, always within the ensemble, we have had beautiful experiences, including a short tour in Argentina last October. Scheduled together, a participation in the Festival 5 Days in Milan.
Andrea Aguzzi: You have made a recent record release with Alchemist, our netlabel dedicated to classical and contemporary music, we want to talk about this your project? How did you get to improvise and how come you gave those titles "at school They Held me under a bucket of dirty water" for electric guitar and the song "Disco Machine" for the classical guitar? At school you were really so many water balloon?
Lucia D'Errico: The Alchemist project with me has led to a discovery. I have always been reluctant to improvisation (they are very tied to the written page, and a blank sheet of paper has always made me a bit 'of fear), but lately I like challenges: and, accepted the challenge, I found a world of unexplored potential that will certainly also fertilize my work as an interpreter. The thing I appreciated most in this experiment was the ability to emancipate the error ... but more on that later.
In the first track, electric guitar, I went looking for sounds not only not "guitar", but also very "human", derived partly from auditory memory technology, in part from an image vaguely aquatic, amniotic or better. The title - luckily for me - I have not taken from my autobiography! One of my great passion is the quote, in this case literature. I chose this because, besides having a beautiful rhythm, in the book from which this summary of a life underground and never removed: this was the inspiration to start. But do not tell you the title of the book! I too like the idea that those who read it can track her down, who knows when and by chance, with that book in your hands ... although maybe a simple search on google vanificherà the unexpected poetry. But I digress ...
The second song is rather to classical guitar - so to speak - prepared. Everything is based on an ostinato rhythm and mechanical which envelops a major triad's stone, worm-eaten, a basic material so devoid of grace and intelligence that I think some fun at disco ... taste was a bit tattered 'at a time the dull repetition of the beginning.
Andrea Aguzzi: Berio in his essay "A reminder to the future," he wrote: "... A pianist who claims specialist in the classical repertoire, playing Beethoven and Chopin without knowing the music of the twentieth century, it is also off a pianist who claims specialist in contemporary music and played with the hands and minds that have never been crossed in depth from Beethoven and Chopin. "You play both traditional classical repertoire that the contemporary repertoire ... you recognize these words?
Lucia D'Errico: I'm glad you no longer need to ask myself the question. In my music that was experimental, not even in ancient Greece, continues to be, and I continue to approach it as such. Of course I do not deal with - or do not wish to accept, it happens even more often - the music of our times is a great shame for a musician (in the sense: what a pity!). Understand and interpret today the best tool I know to know how to put herself in yesterday. And if we consider Beethoven and Chopin as relics, show showcases, rather than how they were - living flesh, "flesh" and also the subject of scandal - well, you might as well just not play them: better to the oblivion of a second burial.
For the rest, a tree is made of leaves and roots, both parties are essential to its existence.
Andrea Aguzzi: Have you participated in several courses and master classes on contemporary repertoire with processing Elena Casoli, Marco Cappelli, Zoran Dukic, Carlos Molina, Vladislav Blaha, Helen Sanderson and have studied composition with Richard Vaglini. What are your memories of these master classes and those teachers? Who impressed you most?
Lucia D'Errico: For each match you get something, but I appreciate the experiences of these stimuli as human and even more than music. That said, I have a fond memory of the encounter with Elena Casoli. Talking about his musical talent here is unnecessary, the thing that struck me was the respect and the depth with which you relate to music (all music), his work, and everything I have to say yes to everything. On the day of the workshop I did with her, we all went to do a picnic on a mountain meadow. At one point a huge spider is made to walk on our tablecloth: all (me first) we got up with disgust, as she bent down and picked up the spider like a chick! Here, I thought: if all we were able to behave so with - apparently - ugliness around us, bend down and pick them, the world would not have bothered. This image sums up the greatness of the impression that Helen has had on me, and maybe the attitude that makes it so profound and magnetic in music.
Andrea Aguzzi: What is the significance of improvisation in your music research? You can go back talking about improvisation in the classical repertoire as well as coded or you're forced to leave and turn to other directories, jazz, contemporary, etc.?
Lucia D'Errico: My work is based for the most part sull'indagine and planning: the turning of gestures and sounds, the sculpture of intentions. Improvising for an interpreter can be dangerous: When the work is so difficult to dig a furrow where the movements of solid muscle and mind you can wedge it, at least to my way of working, which is crucial. Conduct a parallel work on improvisation, however, can give an advantage and not the least, namely to explore their imagination, their spontaneity, going to see what their muscle memory and hearing to be worked out and got out for Christmas. A major consideration for any performer, even the most classic.
Andrea Aguzzi: In addition to the classical guitar, you will give even the electric guitar and bass guitar, and you're interested in music through the knowledge of Middle Eastern oud, why this interest in tools out of the norm "classic" ? What do you think of playing the oud? I ask because I like music el'oud and Middle Eastern musical worlds are vast ...
Lucia D'Errico: Electric guitar and bass have been two great loves teen - hard to escape their fascination at that age. After studying the classics I have taken in hand to feed my desire for novelty and my curiosity, and I used to oxygenate the air a bit 'stale academics who hover over me from time to time around the classical instrument. And then the footage, especially for electricity is so beautiful and rich that I could not resist, and in these months I'm exploring with great pleasure.
dall'oud I was thunderstruck when I had the opportunity to attend a concert virtuoso Egyptian Farhan Sabbagh, this revelation of an instrument so versatile and went to marry my attraction for microtonal music (another of my favorite composers is Scelsi). And so, after you remove the keys to my old guitar with poor results, I received a gift which I'm enjoying the oud. For now I'm trying to understand music in the Middle East and the Mediterranean, giving me a few forays into medieval repertoire. Soon I hope to get a suitable technique to offer this tool for any composer can also offer its European creativity.
Andrea Aguzzi: I sometimes feel that in our time history of the music to flow without a particular interest in its chronological course, in our disco-music library before and after, past and future become interchangeable elements, this may not present a risk for an interpreter and a composer's vision of a uniform? Of a "globalization" of music?
Lucia D'Errico: Speaking of this long ago with some friends I have come to a curious conclusion. To those who complain that nowadays the exuberance of stimuli lead to a flattening in which precisely locate marks for authenticity and value of the past would be difficult if not impossible, and that the facial features of our times would have been eroded by a sort of indistinct mix media, I replied that perhaps it is not so bad considering that the face of our times: a kind of white noise, saturation worthy of Kline and Pollock can constitute a poetic scenario in which to move (and in my mileage period provides a good example!). Seriously, I can not consider the coexistence of times, ways and places as diverse as something negative. On the contrary: this might help to avoid many heinous Arianism music - which, believe me, there.
Andrea Aguzzi: More than a question ... this is actually a reflection: Luigi Nono said, "Any other thoughts, other sounds, other sounds, other ideas. When listening, it often tries to find himself in others. Finding it works, system, rationalism, in the other. And this is a violence quite conservative. "... Now ... experimentation free from the burden of having to remember?
Lucia D'Errico: Getting rid of oneself is a bliss for a few. Those who can not or will not do it, you have to filter out external experiences with their own perception. I see it as something essential, indeed, perhaps to find themselves in a work of others is the very purpose of art. As it says Proust, "Every player, when the law, the law itself. The work of the writer is only a kind of optical instrument which he offers to allow the reader to discern what, without book, it would perhaps have seen in himself. "I do not see this as a bad thing, because we are not made of just mechanisms and rationalism. In the absence of a system that overlaps with our selves and our intelligence, even the music allows us to investigate ourselves in healthy ways. Of course when wearing the distorting lenses of ideology, whatever it is, our focus becomes all about violence - alas, not only about the world of sounds.
Andrea Aguzzi: What is the role of error in your musical vision? Where by mistake mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise smooth surface that can lead to new developments and unexpected surprises ...
Lucia D'Errico: A successful hoax of JF Kennedy wants the Chinese character for "crisis" is composed by the words "danger" and "opportunity." The truth - even if not etymological - of this I could experience in my approach to improvisation. I do not think it means to improvise to know exactly what will happen, or maybe this only affects professional improvisers. I think the distinction is in the ability to handle the unexpected, to emancipate the error at will. That's the beauty of the error, both in music and in life is the crack through which we can glimpse another reality. Of course every crack threatens destruction ... but it all adds charm and fragility of the "thrill" to those who accept the error as part of life. The error may in fact be a key to a world otherwise unknown.
Andrea Aguzzi: Let's talk about marketing. How do you think is important for a modern musician? I mean say, what is crucial to be good promoters of themselves and their work in the music world today?
Lucia D'Errico: A brilliant musician who does not drive itself is like a beautiful light that shines in a bucket. It would be nice to be able to occupy only the research but is required - as well as very hard - stand out among the thousands of voices around us. Abroad and know many conservatives (including Birmingham) are offered specific courses.
Andrea Aguzzi: The Blog is also read by young school leavers and graduates, that advice would you give to those who, after years of study, decided starting a career as a musician?
Lucia D'Errico: To move a lot, physically and above all with his head, to love what you do, love what you do not, to listen, listen.
Andrea Aguzzi: Who would you like to play and who would you play? What are your future plans? What are you working?
Lucia D'Errico: A dream that I hope to achieve is to short to play with my sister Anna, a remarkable pianist, the lack of compatibility of the two instruments has always held back, but we'll see ... For the Moreover, I hope to collaborate with musicians who encourage me and help me to deepen my understanding of creativity. Other projects: working with artists from extra-musical fields (visual art, literature, cinema ... and who knows what else), let me influence, contaminate, engage and disengage ... well, change.
Andrea Aguzzi: Last question: Roberto Freak Antoni, the singer Skiantos, once wrote a book called "There's no taste in Italy to be smart" ... many Italian guitarists, especially if interested in contemporary music have long since moved abroad, where they've started a career unthinkable in Italy ... think of following in their footsteps?
Lucia D'Errico: I am convinced that Italy is not bad either stupidity or ignorance - despite the image that our country lately seems to want to give of himself is that of a smug anabolizzata and superficiality. But fortunately the reality is not (or not only) what appears on TV: people are so many intelligent and creative. I think the flaw in our country is rather paralyzes the habit of complaining: it is always because of some dark power if things go wrong, and dangerous and, unfortunately, this attitude prevents contagious to think big and act, in a vicious circle of inertia. I hope that the experience strengthened my belief abroad, in Italy and will return with even more desire to change things.
Andrea Aguzzi: The very latest application, let us turn to the music of the three questions JPSartre to the literature: Why do you make music? And again: what is the position of those who make music in contemporary society? The extent to which music can contribute to the evolution of this company?
Lucia D'Errico: The first question I leave to respond to Nietzsche: it is music because without music life would be a mistake. The position of those who make music is (and can not be!) the margins of society, as it should be that of every artist, every philosopher, religious, in short, of all thinkers. Why the thought, if not marginal, if he has the strength to always place the corner of my eye - and how much there as you wish! - Hardening, violence is done, to perish like the bark of a tree. We must have the courage and humility to be always green branches ... It 's no use complaining about the separation from the masses of the thinker: no economic or social recognition is an acceptance that a compromise on a large scale can only imply. The artist stands outside, is "between" look, says, understand, and if you can not or will not change the world tries to change himself, and I said it all. And here I answer the last question: the fact that music can change society believe little. He has not done so far, I doubt I ever will. But the music has a great power to change people, or at least put into question. And the company is made up of people so maybe ...
After finding a suitable head (a head Pitt West wind ) And have it adapted, I grooved the neck of the vest and the pants have built in order to get jeans. 
Once the glue dried, I realized the rib with a thin strip of lead foil. 
