Rolando Lucchi lives and works in Italy.
His compositions, some of which have been commissioned by concert and cultural associations, musicians and festival committees, have been performed in concerts and on other special occasions in major Italian cities. They have been recorded on CD, broadcast on radio and published.
           
1) ...dunque; For operatic mezzo-soprano, Bb clarinet and piano. 1981 (rev. 1984) 4'  
2) per Organo Organ work 1984 25'  
3) crucifixus For narrator and percussionist. 1984 25' First performance:
30.11.199O.
Centro Domus Jani. Illasi (VR).
4) poison perdu For piano. 1987 1'  
5) song for doll For soprano voice and piano. 1988 7'  
6) le figure For four percussion instruments (xylophone, vibraphone, celeste and marimba). 1988 11'  
7) stop and go For French horn and piano. 1989 6' First performance:
30.11.199O.
Centro Domus Jani. Illasi (VR).
8) break For seven performers (piccolo, oboe, Bb clarinet, male or female voice, piano, percussion - five skins, double-bass or cello) 1989 9'  
9) le morfematos For baritone voice and piano 1990 7' First performance:
10.11.1990.
Festival musica ‘9OO. Trento.
10) monotono For string orchestra, two oboes and two horns 1990 4'  
11) frammenti e commentari For piano accordion. 1991 6' First performance:
17.11.1991.
Festival musica ‘900. Trento.
12) le scelte amorose For flute and harp. 1991 13' First performance:
17.11.1991.
Festival musica ‘900. Trento.
13) i giardini d’infanzia For piano (six hands). 1992 4'  
14) dittico For tape. 1992 4'  
15) break in break For piccolo, Bb clarinet and piano. Published by Rugginenti. 1992 8' First performance:
27.10.1993.
Festival Trieste Prima Trieste.
16) tramontata è la luna For piano, male or female voice, French horn and percussion. 1992 13' First performance (not public):
10.12.1992.
In Giuseppe’s Le Chien Chant recital room.
17) notturni For flute solo. 1992 5' First performance:
24.11.1992.
AVIDAS DOLLAR Art Gallery. Milano.
Recorded on Notturni Symposium CD. Collana Nautilus. 1997
18) tanghi For piano and two dancers. 1992 3' First performance:
27.04.1993. (Without dancers).
II CHIOSTRO concert season. Milano.
Recorded on Tango CD 2001
by Ema Records.
19) regalo di Natale For soprano saxophone and piano 1992 4' First performance (not public):
10.12.1992.
In Giuseppe’s Le Chien Chant recital room.
20) six memos for cello solo
Foglio 1.5
For cello solo. 1993 15' First performance:
18.03.1994.
"Quattro incontri con la musica del nostro tempo" Festival. Trieste.
21) six memos for cello solo
Foglio 2.5
For cello solo. 1994 10' First performance:
17.05.1994.
As part of our Poiesis in Palazzo Geremia in Trento
22) six memos for cello solo
Foglio 3.5 (Liebeslied)
For cello solo. 1994 3'  
23) six memos for cello solo
Foglio 4.5 (Langsamer Satz)
For cello solo. 1995 5'  
24) Six memos for cello solo
Foglio 5.5
For cello solo. 1995 9'  
25) `Im ´el For organ. Published by Rugginenti, Milan. 1995 7'

First performance:
04.06.1995 during the 24th Bolzano and Trento Church Music Festival (work commissioned by the Festival di musica sacra di Bolzano e Trento)

26) lacrime For violin solo. 1996 20' First performance:
6.11.1997 as part of the Musica ‘900 Festival
27) aira Per flauto in sol (in G). 1996 12'

First performance:
14.09.1996 for the inauguration of Paolo Vallorz, Luciano Zanoni and Marco Arman’s art exhibition in Verla di Giovo.
(work commissioned by the Cembra -Trento Festa dell’Uva committee in Verla di Giovo)

28) sabi e wabi For celeste, two harps, two pianos and two percussionists. 1996 5' First performance:
9.12.1996 during the Musica ‘900 Festival (commissioned by the 1996 Trento Musica ‘900 Festival)
29) e la notte rischiarava la notte For four flutes. 1998 3'  
30) arrow-root
in nove frammenti da nove canzoni popolari giapponesi
For Bb clarinet. 1998 5'  
31) ali For piano, percussion and string orchestra. 1999 5' First performance:
3.07.1999 during the Pergine Spettacolo Aperto festival (commissioned by the 1999 Pergine Spettacolo Aperto festival)
32) hac For string trio. 1999 7' First performance:
16.05.2000 in Trento as part of the Compositori d’oggi celebration.
33) soli For piano accordion and piano. 1999 5' First performance:
8.04.2000 in Valmadrera (Lecco) as part of Mikrokosmos. Recorded on Tango CD 2001 by Ema Records.
34) agar For five percussionists, elephant bells, singing bowls, Chinese temple bells, Chinese gong, Thai gong, and very deep gong. 1999 5'

First performance:
12.12.1999 in Venice during the 10th Sonopolis festival.

35) aloë (a) For vibraphone, xylophone, marimba, very large gong and piano accordion. 2000 20' First performance:
1.04.2001 in Villa Correr Pisani, Montebelluno during the 4th “Piano Accordion in Concert” festival
36) aloë (b) For vibraphone, xylophone, marimba, very large gong and piano accordion. 2000 20'
37) aloë (c) For vibraphone, xylophone, marimba,  very large gong and piano accordion. 2000 20'
38) dolce è la luce Sacred diptych for 8 unbroken voices, soprano saxophone, piano accordion, cello, an Eb tubular bell and three Thai gongs. 2001 20' First performance:  
21.06.2001 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
Recorded on Agli occhi piace vedere il cielo. Pagine intorno alle regioni del sacro CD.
Produced by: Il Diapason Edizioni. 2007
39) haiku For clarinet, piano accordion and cello. 2002 5'

First performance:
21.06.2002 at the Chiesa Cimiteriale di S. Agnese del dosso a Tres (TN) during the celebration of the summer solstice in Tres and the 695th anniversary of the founding of the S. Agnese Church.
Recorded on Voci, Quindici istantanee di luci
e notti dell’anima CD.
Produced by: Il Diapason Edizioni. 2003

40) sumens I For clarinet, piano accordion and cello. 2003 5' First performance:  
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival. Recorded on Voci. Quindici istantanee di luci e notti dell’anima CD.
Produced by: Il Diapason Edizioni. 2003
41) sumens II For clarinet, piano accordion and cello. 2003 3' First performance:  
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival. Recorded on Voci. Quindici istantanee di luci e notti dell’anima CD.
Produced by: Il Diapason Edizioni.
42) sumens III For piano accordion. 2003 6' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
43) sumens IV For clarinet and piano accordion. 2003 4' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
44) sumens V For clarinet and piano accordion. 2003 5' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
45) sumens VI For clarinet. 2003 6' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
46) sumens VII For clarinet, piano accordion, cello and tubular bell. 2003 7' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
47) sumens VIII For calrinet and cello. 2003 4' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
48) sumens IX For clarinet, piano accordion and cello. 2003 5' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
49) sumens X For piano accordion and cello. 2003 6' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
50) sumens XI For cello. 2003 4' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
51) sumens XII For clarinet. piano accordion and cello. 2003 3' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
52) sumens XIII For clarinet. piano accordion and cello. 2003 5' First performance: 
3.07.2004 at the Chiesa Cimiteriale di S. Agnese del dosso in Tres (TN) during the Tres Incontri d’Estate festival.
53) arum For brass quintet. 2004 7'  
54) han? For Bb trumpet. 2005 5'  
55) halk For two piano accordions. 2005 5'

First performance:
2.08.2005 in Piazza delle Conserve in
Cesenatico. Recorded on Senza titolo (materiali sonori su supporto fonografico - 2005) CD.
Produced by: Il Diapason Edizioni. 2005

56) halo For guitar and piano accordion. 2006 5'

First performance:
22.06.2008 inTrento in the Sala della Fondazione Medio Credito in Palazzo Roccabruna.

57) là, dove scivola la terra Incidental music for the one-act play by Renzo Fracalossi and Andrea Zanotti. 2008 20'

First performance:
19.07.2008 in Badia di San Lorenzo, Trento, for the 23rd anniversary of the Stava tragedy (TN).

58) fino all'ultimo giorno Incidental music for the one-act play by Renzo Fracalossi. 2009 20' First performance:
27.01.2010 at the Teatro Sociale in Trento on the occasion of the Holocaust Remembrance Day.
59) notturni For flute and piano. 2010 15'  
60) làras For voice and piano. Thirteen lieder on texts by Fabrizio da Trieste from the poetry book of the same name. 2010 20'

Recorded on Làras CD.
Produced by: Il Diapason Edizioni 2011.

61) nero For piano. 2011 5' Recorded on Làras CD.
Produced by: Il Diapason Edizioni 2011.
62) stella! For children's choir and piano 2011 5'
63) nero For two piano accordions and piano four hands 2011 5'
64) nero For Clarinet ensemble 2011 5'
65) il piccolo principe Incidental music for the show based on the novel by Antoine de Saint-Exupery
Directed by Rita Riboni
Production Foundation AIDA -Verona
2012 20'
66) slow For two piano accordions 2012 5'
67) snow For piano solo 2013 13'
68) cinque tempi For piano solo 2016 15'
69) le beatitudini della malattia Per voce femminile e pianoforte, nove Lieder su testi di Roberta Dapunt tratti dall’omonima raccolta di poesie 2017 20'  
Looking through the catalogue of Rolando Lucchi’s works is, as is often the case with contemporary composers, an ‘aesthetic’ experience in itself. It is full of phrases, sounds and conceptual references that appear not as simple descriptions, a synthesis of the contents that follow, but rather as an extension of the listening experience, at times integrating with and even making the basic element of sound more complete.


From … dunque;, written in 1981 – notice the title’s ambiguous punctuation, which begins with a suspension and ends with a resolution that doesn’t seem to be conclusive – to nero written in 2011, the composer’s interest alternated between instrumental music, perhaps potentially the most creative area and more suited to his aesthetic spirit, and vocal music, which, although always being of a high standard, is inevitably restricted to the sense of the text; between ‘pure’ music, free of any external demands and linked only to the pleasure of writing (Stop and go, Break, Break in Break, Notturni, Six memos, sabi e wabi, aloë, etc.), and music dependent on other factors (I giardini d’infanzia, Là, dove scivola la terra, Fino all’ultimo giorno, Stella!, etc.). Despite this diversity in interest, Lucchi’s coherent writing makes all his compositions clearly recognisable and confirms a well-defined personal compositional style. If the ruins of post-Webernism, from the mirage of total serialism to the rejection of any reference to tonality, has characterised the whole second half of the twentieth century, people like Lucchi, who have experienced an end-of-age phase of reflection, have not hesitated to adopt a more ‘human’ approach to music and, while maintaining a strong forward-looking inclination, have managed to unite this with a vision of music that neither denies its past nor hides from its present.

In the 1980’s, when the respected but certainly not very popular radical avant guarde had entered a blind alley, a period which coincides with the official start of Lucchi’s compositional activity, it was acknowledged that linear narration, the absolute certainty of meaning (by now associated only with styles that were already in the repertoire) and of experimentation for its own sake, were disappearing. Experimentation for its own sake was often done in good faith, but the resulting compositions were unable to communicate because of always having to establish themselves and redefine their semantic and cultural contexts, from which to draw energy to be sustained.

Analysing the historical context and looking for a convenient label, everything could be summarised with the term ‘post-modern’, although it is obviously inadequate in rendering all the particularities involved. However, the elements of polystylism, the use of pre-existent materials and techniques, and the mixing and matching combination game with which the sounds are organised and put together can only indicate a return to an aesthetic stance of ‘pleasantness’, completely in contrast with the non-acceptance of anything to do with consonance, which is typical of the ‘modern’ period in music. Being careful of inevitable implied meanings in the use of any terminology, it is not inappropriate to examine certain pieces, such as Break, Stop and Go, Break in Break, perhaps the most important in Lucchi’s entire output in forging his personal style, and identify the elements of that systematic interchangeability that make his musical language so clearly defined. Such elements appear insistently, almost becoming a true and proper idée fixe, and these characterise a large part of Lucchi’s compositional technique: the combinational games are amalgamated and come up again and again in an eternal cycle; thus, from being simple organisational strategies to be developed within a piece, they become true and proper cycles (Notturni, Six Memos, aloë, sumens), an expression of continual recombination that transcends even the experience of writing and listening and expands to infinity.

Even in the more “narrative” pieces, dolce è la luce, Tanghi, etc., the discourse is continued in a personal way, from time to time manifesting itself with an ironic glance or with clear spiritual references, almost as if rejecting that so-much sought-after expressive personality that every artist often vainly desires, leaving, instead, listeners free to construct or interpret according to their own capabilities in an atmosphere of mutual respect, in which the artist figure is no longer sacred, even though his personality remains and continues to play the vital role of spiritual, ethical and aesthetic guide.

Everything expressed by Rolando Lucchi, in fact, even amidst the multitude of interests and activities that make him stand out, assumes a hint of extraneousness from human needs, of elevation above purely aesthetic objectives, without ever losing sight of a world, like the one around us, which is strongly attached to standardized values, objectives and functions.

Marco Russo, April 2012
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Rolando Lucchi è nato a Trento il 15 giugno 1963. Compositore e didatta, esperto in organizzazione didattica e gestionale della formazione musicale di base, giornalista pubblicista, Rolando Lucchi ha studiato composizione a Milano con Paolo Castaldi e con Alberto Soresina. Si è diplomato in Pianoforte nel 1987 al Conservatorio di Trento, in Musica corale e direzione di coro nel 1991 al Conservatorio di Verona, in Composizione nel 1994 al Conservatorio di Brescia, in Pedagogia e didattica della musica nel 2000 al Conservatorio di Firenze studiando con Fiorella Cappelli. Già collaboratore del Centro di ricerca e di sperimentazione per la didattica musicale di Fiesole e coordinatore editoriale del Festival Musica ‘900, dal 1995 è direttore della Scuola Musicale Il Diapason. Già coordinatore didattico dell’Associazione delle scuole musicali trentine dal 1993 al 2001 e coordinatore didattico di Scuole musicali trentine s.c.a.r.l. dal 2001 al 2004 è stato consigliere nazionale di Federcultura, turismo e sport e membro del comitato tecnico per le società cooperative di produzione lavoro della Federazione Trentina delle Cooperative. Ha collaborato per la pagina degli Spettacoli col quotidiano l’Adige (1992-98) e con riviste culturali e didattiche. È stato responsabile dell’ufficio stampa del Centro servizi culturali Santa Chiara di Trento (1996-99), direttore responsabile della rivista di formazione musicale 4e40, consulente del Servizio cultura della Provincia Autonoma di Trento per il Progetto di riforma delle Scuole musicali trentine (1996-98), consulente del Servizio cultura del comune di Trento per il riordino del comparto musica nell’ambito del servizio stesso (1997-99) e collaboratore della Federazione trentina delle cooperative, comparto Scuola e formazione, per i progetti di aggiornamento del personale delle Scuole musicali dal 1996 al 2004. Nel corso del 2003 ha coordinato e realizzato per conto della Federazione dei Copri Bandistici della Provincia autonoma di Trento il riassetto delle attività formative rivolte ai giovani bandisti attraverso un innovativo Progetto di formazione musicale bandistica in corso di sperimentazione. Nel 2006 ha realizzato per AMBAC Veneto un Progetto di formazione per il personale delle Bande venete aderenti ad AMBAC. Sue musiche, alcune composte su commissione di festival, associazioni concertistiche e culturali, musicisti, sono state eseguite nelle principali città italiane, in concerti e festival, registrate e radiotrasmesse dalla RAI terza rete radiofonica, incise in CD per l’ etichetta Symposium casa di produzione discografica di Trento nella collana Nautilus , per l’etichetta EMA REDORDS di Firenze e per IL DIAPASON EDIZIONI di Trento, pubblicate per i tipi delle Case Editrici Rugginenti di Milano, CIDEA di Riva del Garda (TN), Kookaburra di Parma, e META parole & immagini di Firenze Sulla sua musica hanno scritto: Antonella Bartoloni, Giuseppe Calliari, Julian Lombana, Franco Ballardini, Elka Rigotti, Ennio Simeon, Marco Russo, Sergio Miceli, Emanuela Rossini, Annely Zeni, Marcello Farina.
Pictures_Rolando Lucchi
portrait_Piero Cavagna
red background portrait_Laura Marcolini
development and animation_EvoStudios
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