Paolo Piccirilli’s opinion

In confidence and for other reasons

He who thinks that “the author” exists is greatly mistaken. The author doesn’t exist. He doesn’t exist just as the “father" of one’s own children doesn’t exist. As a matter of fact, a composer (an author of Music) is none other than a manipulator of notes that have already been written; working on a composition is something the composer does for himself and not for others. However, such a composition, in the end, is a creation of an ensemble of sounds that’s destined for the use of many. The composer is not contemporary to the events nor to the characters similar to him: in his non-existence, time nor space exist. One of the greatest composers in the History of Music, Johann Sebastian Bach, knew very well that he wasn’t anyone’s contemporary.

Consequently, the teacher, the singer songwriter who’s “busy composing for others” isn’t, nor ever will be, defined as a musician, meaning a “composer and Music Master".

In fact, the big difference between the teacher and Master is that the first teaches you things that he knows or has studied from books, as if he were a book to consult, or better yet, a parasitical deposit of historical events. From the Master, instead, one can learn things unknown to him, that he knows nothing about; his manner of not knowing is very specific.

We know, however, that many who qualify as musicians are famous people thanks to many factors: means of information managed by friends of friends, promotional advertising, the market, and critics who, in most cases, flatten and promote, not mustering up the courage to tell the truth, indeed, to tell the truth.
   The truth , in fact, should always be said; even when you want to deceive someone, you have to say the truth.
   When it comes  to Art , there is no alternative nor any way out: an artistic creation is either beautiful or it isn’t. Anyone in the world, be it in the past, in the present
or in the future who goes to visit Michelangelo’s “Pietà” in St. Peter’s Basilica at the Vatican, is not able and will never be able to say that it’s ugly. We all agree on this, but if a proclaimed artist were to sculpt or paint or write an ugly work of art and a group of critics admire it greatly and write ten thousand pages full of those idiotic sentences like “here the artist wanted to give sense to, etc.” “here, the artist was influenced by…” “that is reminiscent of…”, tell me who would have the courage to say that the work of art in question is indeed disgusting. Nobody! This is the reason why, in democracies, societies of masses are continually deceived and falsehood prevails over the truth. It’s obvious, though, that I can’t express an opinion on myself and on my music; I’ll wait for yours.

Personally, besides a few publications, I have never been put to the test by those people who exercise power in the recording industry; I have never been commissioned to do anything and this doesn’t worry me at all; I certainly do get a little annoyed when I listen to music and to songs on T.V. that are trite , for example, keeping in mind that there are fortunate people who devote a lifetime only to making Music and who produce frivolous pieces of work.
    Changing channels easily corrects the situation; I sigh whenever I happen to listen to bad Music, but I repeat, it’s a nuisance similar to that of having a fly roaming around your room during the summer.

I’ll now speak briefly, without wandering off anymore -even though I love doing so- about the more than ten year collaboration I have with Pasquale Panella, theatrical writer and a genius of the written word and with whom I’ve never counted nor enumerated any of the pieces of Music, and I stress the words pieces/passages, not songs, that we composed together. It may not be interesting to delineate how those pieces came about, but I would like to explain it to you; the lyrics would appear on a blank sheet of paper in a jiffy, and I would instantly provide the Music to them. At times, the reverse would happen. That’s it!
     Finally, I would like to dedicate some last words to another of my musician friends, who’s both a composer, and a guitarist with a vast repertoire. I don’t like the word dedication; let’s just call it fondness for his Music. I detest those books and other works, for example, that express a lot of the “Dedicated to…”. I invite you all to be suspicious of  those works in which a dedication (metaphorical ceremonious consecration) to someone is printed in brazen form on its first few pages.
When you read “ In honour of …”, when you find “In memory of…”, when you consecrate, offer, nominate, you dedicate, yes, you dedicate. The ideal, therefore, is to not partecipate in this kind of ritual, ever. When it comes to books and works, in general, but especially with books, the dedication has a sense and it gives sense to the entire book; it’s this very thing that’s problematic: things that make sense  don’t have artistic value. Sense, and, worse yet, good sense, are enemies of Art.

It often happens ( and I have to say with pleasure) that I find myself in a bookstore skimming through new books that appear to be interesting – and the same goes for some good CD’s- Once I find the dedication on the first page, it’s great being able to say, “ I won’t buy it, I won’t read it because I don’t like it”. Oh! For goodness sake!” I don’t have it in for anybody, but I smile and I’m amused whenever I find, for example, dedications such as “ To my mother, or To my daughters Tamara and Susanna” or still yet, To my big brother, my friend for life; wouldn’t it be better to say “ To the reader or to the listener”?
There are certainly some exceptions, take for instance, Giuseppe Verdi’s magnificent Requiem; his descendants, or whom, I don’t know, say that it was written upon the death of the great literary writer, Manzoni. I incorrectly call this an exception, though, because Music, alike Literature, has a partiality to death as an inevitable and irreplaceable figure of speech.

What I’m about to do with these WEB pages, therefore, is not write a dedication, but rather publicly declare my fondness for Gianfranco Molle’s Music. Gianfranco is a guitarist and a composer of pieces of work known only to a few, but of extraordinary simplicity and beauty. He plays Blues and Country in fervent style, plucking the guitar as if it were a harp, mostly with the fingers of his right hand and seldomly with a pick. His kind of style of playing is similar to that of James Taylor, an American musician known all over the world. Up until now, Gianfranco has not had any luck and he hasn’t  lent himself to any power games; let’s say that, like me, he also lives in a town – and what some dreamer insists on calling a city:- the town is desolate, a place that although located only a couple of hundred kilometres from Rome, doesn’t offer anything.

Gianfranco has travelled throughout Europe with his guitar and his songs. I have often accompanied him. I’ve played with him and with a group he had back then. I tell you that wherever he went, he received praise and was popular amongst the public.

The name Gianfranco Molle is very well known in the world of Esperantists and the majority of those concerts took place in the Eighties and onward during meetings and conferences held by the young from all over the world who speak Esperanto.

He’s certainly a Character, as you could well admire in the picture here below.

What I’m going to write about now, however, and which I shouldn’t be thinking in the least, is that I don’t really know if I should be grateful to him or to blame him, or both, for having created, taken care of and managed the site you’re now browsing through (he still does this today because he’s, amongst other things, an expert in Computer Science), and for having pushed me, let’s say, to the verge of ruin in the world of the Internet where real death and virtual death coincide.  

Paolo Piccirilli



Luca Di Ruzza’s opinion


The great mind of a musician-composer and that of a skilful guitarist come together in creating an example of local talent. The artistic ingenuity of Paolo Piccirilli is not well-known  in the average Music circuit and recording industry. The intention of this highly refined musician aren’t elitist in the least, however, they are geared toward the true connoisseur. From a critical standpoint ( both musical and artistic), Piccirilli’s musical talent is confused with Eclecticism. But to speak of Eclecticism, as far as Piccirilli is concerned, is depreciatory; often we make analogies with musical myths and with present-day musicians who are unquestionably brilliant, in order to indirectly glorify a particular capability of making Music.

Piccirilli’s Eclecticism is of a creative and energetic kind thanks to unique and unrepeatable personal experiences, also present in those aforementioned internationally renowned musicians who are famous in the recording industry and are very capable of composing and modifying various genres of Music. There’s a mix of blues, jazz, rock, soul and swing in Piccirilli’s musical repertoire; the tones are soft on occasion and, at times, hard and rhythmic. Amongst these variables, there’s a heightened sense of melodic softness that ravishes the soul and, by analogy, gives the same sort of feeling representative of soul Music in the U.S.A.

The combination of sounds triggers a complex process of sensations, thanks to the musical arrangements and to their creative ability, turning it into a display of talent when Piccirilli decides to outdo himself, having excellent command of the acoustic guitar and, more so, complete mastery of the electric guitar; his display of twists and distortions are so skilfully executed that he could be considered a sort of George Benson of the Mediterranean.

Other than the splendid Messa in re maggiore with choir and orchestra and La Giara –Music for the homonymous play of Luigi Pirandello performed by a theatre company- there are two albums at the moment produced by Piccirilli that could be considered examples of the abovementioned genres Lapislazzuli and Passe-partout.

There are nine pieces in Lapislazzuli: It starts off with Amori a Roma (Love stories in Rome), a slow- swing that emphasizes the love the composer has for the “eternal city”; in its sound, there is almost nothing that’s of traditional Italian Music. The second piece, GTT, (the Great Tina Turner), is a rhythmic crescendo; both keyboard and electric guitar are used to create soft and melodic rock sounds that are reminiscent of those of Benson and Latin-American soul Music which make you just want to get up and dance. The third piece, Impressioni (Impressions), a true stylistic and aesthetic composition and the fourth, Plenilunio (Full Moon), are followed by the fifth, Piccola Evasione (Brief Escape), a piece that allows everyone some relaxation. Also worthy of attention is the sixth piece Lucia (Lucy), in honour of his partner’s name; it’s a jazz-waltz (three-four time) that represents a real emotional escalation of half tones. In the piece Novembre (November), Piccirilli hits upon lyrical-elegiac keys depicting a month that brings to mind, even temporarily, thoughts of dusk, the gloaming of nature and of life. In Mediterraneo (Mediterranean), the piano and an instrumental base come together to conjure up images of harbours in cities like Palermo, bazaars in Tunisia, or the swarming of Caribbean urban centres and that of Hondurian and Jamaican “favelas” with sceneries of the sunny tropics and wild nature.

Dialogues that a mind, at times, maps out in a maze of meandering thoughts, when it plays the role of both question/answer are represented in Soliloquio (Soliloquy). It could be considered an enthusing symphony of piano, base, guitar, percussions and electronic keyboards.

The collection Passe-partout opens with Preambolo (Preamble), a prologue that’s a real display of high class scales using the guitar; this piece lays out the groundwork of the contents for the entire album. At the top of the collection and, perhaps, in Piccirilli’s entire repertoire, lies Una notte all’inferno (A night in hell) …. without question his most remarkable piece. What Piccirilli has done here is he has created a journey that leads you through dark and infernal places of the unconscious, characterized by sinister sounds produced with scales of notes and rock Music-like atmospheres inspired by the British, like those of Alan Parson. Such a piece seems to be particularly suited for background Music in theatrical representations or for action movies.

In Come si parla a una donna,  the composer appears to give advice ( as the title delineates) on How to talk to a woman: do it with Music, let the sax speak!

Following the fourth piece, Little blues, that ‘s in direct reference to its title and the fifth piece, Sberleffo ( Jeer), images of a Latin-American tropical paradise come to mind in Enamorada (Woman in love); rocking rhythms mix in with Afro-Cuban sounds almost in continuity with the aforementioned piece Mediterraneo from the Lapislazzuli album. The seventh piece is called Fool; a 5/4 beat combined with a lyrical composition of the musical arrangements seem to conjure up cosmogonical visions of religions such as Zoroastrianism, Armenian-Central Asian Gnosticism or Polinesian ethnological beliefs and those of the Red Indians. The epilogue in the eighth piece, Passo (Step), is a spectacular mute-trumpet characterized by virtuosities performed using the following sequence: -ouverture-escalation-pause-repeat  (it seems to know no boundaries ). Aside from the collections, it’s also the case to mention the piece Equinozio (Equinox) where day and night equally contend for supremacy as if to represent the composer’s ability to play on the various instruments. The sound of the keyboard that expresses the joy of the midday is remarkable, as is that of the base, which together with the progressive insertion and playing of guitars, stresses the mystery of the night.

Luca Di Ruzza is a journalist and writer. He contributes to Testate Giornalistiche Laziali (newspapers in the Region of Lazio). He has published Fiabe ciociare (Fables of Ciociaria) - - Ed. Printhouse, also available on the following site:





Ugo De Santis’ Opinion on the “Holy mass in D major”



    The composition of this particular work is that of 4 voices mixed together and is accompanied by an orchestra; the text is in the Italian language. It also includes the “Our Father”  and responds with utmost coherence to the theme that has been developed in sublime fashion.

The author’s sensitivity is noted; his creative ability arouses the soul with aulic thoughts.

His style is that of the greats of the past, like Claudio Monteverdi –Cremona 1567- Venice 1643 and Tommaso Albinoni – Venice 1671-1750, a Music specialist during the late Baroque period.

The melody of the “Holy Mass in D major” of this young composer (Paolo Piccirilli) is fluid; the instrumental organization of this piece is lively and magnificent.

Who was Paolo Piccirilli inspired by for his exceptional ability to compose Music? Surely his romantic inclinations take him beyond social convention elevating him to a place where Music is prayer; he was also certainly inspired by the delightful tranquillity of his hometown, in the shadow of his great fellow –townsman, Thomas Aquinas.

The touching notes contained in some of the passages of the “Holy Mass in D major” move us and they have us harbour spiritual thoughts that lead to Heaven where harmony exalts the glory of God.



Macchia di Pofi

November 6, 2000

Ugo De Santis



Ugo De Santis is a writer and poet. Among his works, we mention a collection of poems  Fiori di campo per Lampedusa.