Posted by Stefano Dentice 24 July 2016 on Strumenti & musica .com
Davide Bonetti is a curious, very eclectic accordionist, open to the various stylistic influences. A prolific and deep composer through this pleasant chat tells stories of life and its most significant professional experience.
You have inherited the passion for the accordion even from your great-grandfather. This family tradition how much did you influence on your accordion carreer?
The passion for the accordion is passed across my grandfather to my uncle, and, through him, to me. My great-grandfather was something of a legend in the family. Despite coming from a family of farmers, in addition to playing the accordion, he knew the Divine Comedy by heart.
When have you started studying accordion?
I began to study music in eight years, directly with the accordion. This is a study that takes me still.
You range from classical to popular music, from ethnic music to jazz. Where does this brilliant versatility come from?
Basically by being very curious about the world around me. Even from sonically like sweep, I like listening several kind of music, compare myself with various genres and musical styles. I like learning, but I like also new challenges, which have allowed me to build my own personal style.
When has the love for jazz accordion blossomed?
I was a boy I attended a local where they performed great jazz musicians. At the time, at the end of the concert, it was normal a jam session together with jazz musicians could start. I always carried my instrument. I can say that my first “gym” was this.
You’re also dedicated to the study of diatonic accordion. How sprang the passion for this instrument?
I am having always played folk music I was curious about this “little cousin” of the accordion. At one point I decided to get one, so I started looking for accordion players in my area to be able to learn. Although belonging to the same family, the accordion and the diatonic accordion are two very different instruments.
You’re a prolific composer, especially in the theatre. When and how did you have the opportunity to interface with this reality?
In the school I attended as a child you did theatre. When I moved to town I searched for a theatre group with which to experiment. I am considering that I was playing the accordion and I was delighted to compose it was natural to become a musician scene and use my music for the shows. From there I started to collaborate with different companies, actors, directors and choreographers.
You are also active as an accordion teacher and player in an ensemble. What are the strictly technical difficulties experienced by your students with respect to the instrument and the study of music ensemble?
Every student is different and there are many other factors (age, predisposition, any previous studies, reactivity, time devoted to the study) that can affect student performance. In general, the technical difficulties are those related to the instrument, since the accordion requires the use of both hands, who have to play independent lines and in which the expression management is managed with the bellows. The ensemble music is a critical step for any student. It allows you to compare yourself with others, to hear how other students play and intend to interpret a song. It allows, above all, to experiment and put into practice the concepts of rhythm, dynamics, expression, style and audience.
How important is the role of teacher in your artistic life?
I consider education an integral part of my artistic life. I believe that teaching is an art, and I think there is the necessity to teach music and art to the people, but especially to children.
Since 2009 you direct the Orchestra of Music in Ome. How do you live this experience?
It is a kind of chamber music training, educational purposes, with which we have dealt with over the years all kinds of repertoire, from early music to free jazz. It is a satisfaction to see students musically growing in the orchestra.
What’s your projects for the future?
I recently started to play a new instrument: the Bercandeon, close relative of the accordion. Recently a CD, Ad Libitum, with booklet came out, in which I composed and performed some songs with this instrument. Soon a new CD, entitled Verso Est, will be ready. It is in duo with the violinist Anca Vasile, dedicated to the music of Johannes Brahms, Bela Bartok and George Enescu.
Davide Bonetti is a curious, very eclectic accordionist, open to the various stylistic influences. A prolific and deep composer through this pleasant chat tells stories of life and its most significant professional experience.
You have inherited the passion for the accordion even from your great-grandfather. This family tradition how much did you influence on your accordion carreer?
The passion for the accordion is passed across my grandfather to my uncle, and, through him, to me. My great-grandfather was something of a legend in the family. Despite coming from a family of farmers, in addition to playing the accordion, he knew the Divine Comedy by heart.
When have you started studying accordion?
I began to study music in eight years, directly with the accordion. This is a study that takes me still.
You range from classical to popular music, from ethnic music to jazz. Where does this brilliant versatility come from?
Basically by being very curious about the world around me. Even from sonically like sweep, I like listening several kind of music, compare myself with various genres and musical styles. I like learning, but I like also new challenges, which have allowed me to build my own personal style.
When has the love for jazz accordion blossomed?
I was a boy I attended a local where they performed great jazz musicians. At the time, at the end of the concert, it was normal a jam session together with jazz musicians could start. I always carried my instrument. I can say that my first “gym” was this.
You’re also dedicated to the study of diatonic accordion. How sprang the passion for this instrument?
I am having always played folk music I was curious about this “little cousin” of the accordion. At one point I decided to get one, so I started looking for accordion players in my area to be able to learn. Although belonging to the same family, the accordion and the diatonic accordion are two very different instruments.
You’re a prolific composer, especially in the theatre. When and how did you have the opportunity to interface with this reality?
In the school I attended as a child you did theatre. When I moved to town I searched for a theatre group with which to experiment. I am considering that I was playing the accordion and I was delighted to compose it was natural to become a musician scene and use my music for the shows. From there I started to collaborate with different companies, actors, directors and choreographers.
You are also active as an accordion teacher and player in an ensemble. What are the strictly technical difficulties experienced by your students with respect to the instrument and the study of music ensemble?
Every student is different and there are many other factors (age, predisposition, any previous studies, reactivity, time devoted to the study) that can affect student performance. In general, the technical difficulties are those related to the instrument, since the accordion requires the use of both hands, who have to play independent lines and in which the expression management is managed with the bellows. The ensemble music is a critical step for any student. It allows you to compare yourself with others, to hear how other students play and intend to interpret a song. It allows, above all, to experiment and put into practice the concepts of rhythm, dynamics, expression, style and audience.
How important is the role of teacher in your artistic life?
I consider education an integral part of my artistic life. I believe that teaching is an art, and I think there is the necessity to teach music and art to the people, but especially to children.
Since 2009 you direct the Orchestra of Music in Ome. How do you live this experience?
It is a kind of chamber music training, educational purposes, with which we have dealt with over the years all kinds of repertoire, from early music to free jazz. It is a satisfaction to see students musically growing in the orchestra.
What’s your projects for the future?
I recently started to play a new instrument: the Bercandeon, close relative of the accordion. Recently a CD, Ad Libitum, with booklet came out, in which I composed and performed some songs with this instrument. Soon a new CD, entitled Verso Est, will be ready. It is in duo with the violinist Anca Vasile, dedicated to the music of Johannes Brahms, Bela Bartok and George Enescu.
