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    FRANCO SILVESTRIN - Monselice (PD) - Italy

Italian musical, movies and various arts critic reviewer, musician  


( English translation by Franco Silvestrin)

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The relation to the classical world is always a very difficult path to follow: to the listener, as the function of earing (enjoyment), emotional and rational, must resist to the assaults of the authority expressed by the source (author); to the player, who very often finds himself caught in the dichotomy between the personal interpretation and the strenght represented by the style. And we have to consider classical the experience coming from all the masters who gave to the music indelible instruments and styles that became a steady reference in the changing process of the works.

All this happens in spite of the different musical kinds and of the problems caused by the cultural resorting to the genres. When the source gradually desappears or when it becomes untouchable from the artistic point of view, the possibility of a different creative intervention crumbles down under the new “pruderie” (the one written on the epigraph of the modern jazz): so, the musical operator feels the nasty sensation that belongs to the soldier walking on a mined area.

Aiello didn’t make neither a review nor a second reading (the listener should be offended by the epithet). It’s not a fight against the author capable of fascination and intimidation, nor an easy journey on a easy way, as it was created by an authoritative hand. This work doesn’t represent  a kind of “frenzy of exaltation” and it isn’t a ingenuos and silly assent to a convenient strategy of communication.

Real musician, serious and with a deep respect for the Music, Massimo Aiello proposes, according to a long meditation about his own musical activity, a sign of independent and mature creation, clearly understanding its artistic dignity and motivation: and that is not easy to be found in the field of the contemporary production. We can find in his rhythmic reading (but the word doesn’t appear sufficient), sometimes strong and shouting, sometimes almost silent (we are brought to think he doesn’t want to annoy the Master or to shine brigth on the stage), the clear sign of an original project of music. We could call it “jazz” only if we are capable to distinguish distinctly its shape.


I leave to the listener the great pleasure to go into this musical field, sharing the visual and acoustic entreaties borning at every measure and waving at new and sensible rhytmic quality spreading away from a rarely perfect Symphony: the one that reconciled its Author with the human existence.



Franco Silvestrin

Italian musical, movies and various arts critic reviewer, musician