Maestro Nazario Carlo Bellandi was recommended to me by a friend many years ago. I was already studying with the Master Giuseppe Agostini and Domenico Bartolucci, but I also wanted to deepen the study of composition, which has always been my great passion. Then I was told about Maestro Bellandi, about his contrapuntal science and his studies on the canon. I remember our lessons; he was truly a man passionate about music, not only as an art of sounds but also as a stairway to knowledge. He told me about his projects and his didactic writings, both as regards the organ and as regards the art of counterpoint. He is certainly a musician who deserves to be known more and better, it would be really necessary to deepen what his artistic mission was. I always remember him with gratitude and deep affection.

Maestro Aurelio Porfiri

Former Substitute Organist in the Patriarchal Basilica of St. Peter for the Vicariate of the Vatican City, Honorary Master and Organist of the Church of Santa Maria dell'Orto in Rome, Honorary Master and Organist of Saint Joseph Seminary Chapel (Macau, China), Editor-in-Chief Altare Dei , Founder and Artistic Director of Choralife Publisher and Chorabooks Publisher

Writing about a musician artist, protagonist of the history, is not easy, but when the lights turn on around a protagonist, the memory becomes fundamental reality. In my Roman years I met Nazario Carlo Bellandi, meeting him almost by chance on the occasion of our teaching at Santa Cecilia Conservatory of Music in Rome. Tripping over the organ dimension, among other interests, and exploring creative and didactic horizons, I discovered that personality, humble, reserved, and silent. It was helpful for me to learn about the achievements of maestro Fernando Germani, who cited Bellandi for his bright and significant example of commitment. It was one and the same to chase him to shed light on his work, and I ascertained, with surprise, that the organ had been his great love in the first place, but not only that, also compositional didactics, organ construction science, creative knowledge, theoretical depth, and philological investigation were the humus of his self in music. In a short time, we became not only colleagues, but also friends. In short, almost confidentially, he handed me some of his studies for the organ pedal, investigations into the techniques of composition and works for organ; but he never asked me to perform his works. It was a personal initiative when I laid my eyes on the three organ sonatas, as well as other organ parts, which I decided to propose in concert. Putting me to work, he did not ask me any questions for any clarification, to the point that I saw him again on June 8, 1982 and October 15, 1985 on the occasion of the executions at the basilica of San Giovanni in Lateran. He did not even go up to the organ (he trusted me!), but that presence in the temple, I am sure, made him happy. He probably did not expect such results and that radiant light that I caught in his gaze was the most immense gift I have ever caught throughout my concert activity. Perhaps that creative corpus, which was deep in himself, had never been publicly executed, and the same goes for the more complex theoretical and didactic compositions. My knowledge of those works, certainly not very widespread, that he wanted to offer me dates to those years, almost under the banner of confidentiality and modesty. Now I believe that the musical world must do justice to the artist, albeit belatedly, by bringing his creative designs to life in performances, and in publishing, often stingy and wary of projects that are considered extremely complex and arduous. It is necessary to clear the field of the intrusive plethora of mediocrity and the "easy" to raise the hymn of poetry in music to beauty, ad majorem Dei gloriam, that Nazario Carlo Bellandi so desired.

Maestro Arturo Sacchetti

Former Director of the RAI Chamber Choir, professor at the Conservatory of Santa Cecilia in Rome, Artistic Director of the "G. Carisio" International Academy of Music of the "Civico Istituto di Musica" of Asti, Artistic Director of the "Ente Perosiano "of Tortona, Professor of organ at the" Regia Accademia Filarmonica "of Bologna, Professor at the Academy“ L. Perosi "of Tortona, honorary inspector of the Ministry of Artistic and Historical Heritage, Academic by distinguished reputation from the" Regia Accademia Filarmonica "of Bologna

It is not easy to write about a person for whom you have first had a deep esteem and then kept an affectionate and admired memory. In doing so, you always have the impression of writing too little and, at the same time, something rhetorical or conventional. First and foremost, Maestro Bellandi was the one who taught me Organ, who helped me to "fix" an unsteady piano technique and introduced me to a refined counterpoint technique and organ composition. It may be argued that this might be considered "normal" in a didactic relationship and, I am sure, the same holds true for many of his students, given the seriousness and professional honesty of our Master.

Looking for something else that can honor his memory, I would like to underline his rare merit of knowing how to live Art while at the same time being the guardian of secular traditions. For example, he was a profound connoisseur of counterpoint and its most sophisticated techniques and equally convinced and interested experimenter in anticipating the perilous paths of research and innovation. This applied both in his musical compositions and, I am sure, in other fields of his knowledge and in the more "practical" things. This is demonstrated by the courageous undertaking for an organist to build a large pipe organ at home, full of brilliant and innovative technological solutions, especially when compared to the means at that time.

Another, albeit small, example of open-mindedness was the time he accompanied me to try one of the very first and obviously limited electronic liturgical organs - the much more advanced examples today are still censored by most no matter what, even for daily study - “Please take it. Anyway, it will be extremely useful!”.

Even today, almost forty years after our last lesson, after having attended courses, seminars, masterclasses around Europe in my youth, after so many vicissitudes in my life as a musician, teacher and then director of the Conservatory, sometimes I happened to go back in a dream and pass that glass door, enter his study, the organ on the left, the shelves full of books and scores, the upright piano next with photos of his very parents on it, the table between us. "I'm happy that you have decided to continue your composition studies!", with his bold attitude and with his slightly retro habit of using the third person “Lei” with his students. “No, unfortunately no, dear Master, this has never happened! And I still regret it."

Maestro Giandomenico Piermarini

Concert Organist. Appointed organist of the Patriarchal Archbasilica of San Giovanni in Lateran in Rome, Professor at the Conservatory “A. Casella “of L’Aquila, former Director of the same

I preserve the dearest memory of an affable and generous man as well as of a musician of high value.

Maestro Bruno Aprea

Internationally renowned conductor and pianist, winner of the Koussevitzky Prize in 1977 in the United States, former Artistic Director of the Palm Beach Opera, USA

I knew Maestro Bellandi very well. I studied with him and I highly esteemed him. I prepared the fourth year of composition with him and I was very enthusiastic about it. For me, the work I did with him on Bach's chorales and on the construction of the fugues was very constructive; the setting of the various harmonic possibilities to construct the counter-exposition and imagine all types of strettos; the fact that he was an organist and had a real, not just theoretical knowledge of Bach's great compositions. I remember his enthusiastic tales of his relationship with Maestro Bustini. I also remember his craftsmanship in arranging musical instruments that he knew like few of his colleagues.

Maestro Sergio La Stella

Conductor of the Rome Opera House

The teaching of Nazario Carlo Bellandi, although dating back many years, have remained well impressed together with his rigorous but human cordiality.

Maestro Martino Faggiani

Chorus Master of the Teatro Regio di Parma, Chef des Choeurs at the La Monnaie Theater in Brussels, former Director of the youth choir of Santa Cecilia

I was a student of harmony, counterpoint, and composition of Maestro Bellandi from '77 to '84, when I graduated in the Conservatory of Santa Cecilia where he taught. I have particularly good memories of the Master, both as a teacher and as a person. He used the third person “Lei”, and this made me feel a little uncomfortable, but it was a sign of respect some might say in the old days, but at the same time this instilled a sincere and warm humanity into me. With his musical qualities, his visceral love for the great music of the past and for counterpoint as a sublimation of compositional writing, he gave me a solid basis to face a musical path that allowed me to make of music my profession for life, with honesty and sincerity, as he showed himself with his teachings. As I write, I realize that I am about the same age as Bellandi was when I met him and my life experience makes me feel even more what an extraordinary and humble person he was, as profound as he was modest. His compositions were remarkably interesting, certainly linked to the great historical tradition, but at the same time modern and refined. I remember his self-made organ built in his house, fascinating and mysterious.

Maestro Leandro Piccioni

Conductor of the Piazza Vittorio Orchestra, winner of the David di Donatello 2020 as "Best Musician" of the film The Magic Flute of Piazza Vittorio, pianist, composer, and director of famous soundtracks, since 2001 collaborator as pianist and keyboard player of Ennio Morricone, Teacher Griffith Academy of Film and Television

I am moved by the memory of my Maestro Bellandi. He is a person that I constantly carry in my thoughts, for his figure as a composer, teacher, and example of life.

Maestro Giovanni Clavorà Braulin

Professor of Organ and Organ Composition at the Conservatory "Luigi Cherubini" in Florence, former Organist in San Pietro, Artistic Musical Director of the Church of S. Marcello al Corso in Rome, organist and choir Director in the Churches of SS. Gioacchino and Anna in Rome, winner of the "Flor Peeters" International Organ Competition in Mechelen (Belgium) in 1988, international concert performer

I was lucky enough to have been a pupil of Maestro Bellandi at the Santa Cecilia Conservatory in Rome. It is difficult to describe my thoughts of gratitude in a few words, because what I am today, as a musician and as a person, I owe it to him, who was more than a father to me. Every day I carry him with me in my heart.

Maestro Alessandra Albo

Conductor and violinist, Lecturer at the "G.Verdi" Conservatory of Milan, Permanent Conductor of the Orchestra of the Bergamo and Treviglio Academy and of the Musical Corps of Ranica and Montello (BG), Director of the Musical Corps and Artistic Director of the "Don Sennhauser" music academy, winner of the absolute first prize at the international conducting competitions of Varenna and Casarza Ligure

Dear Master, 

since you left this world I felt more and more your absence, because you were always willing to give me advice and ideas, which surely came from your teaching experience and your wisdom. 

I certainly owe it to you if, in the several hours of lessons you have dedicated to me, I know how to play the organ with competence, as the journalists say. 

To you, and not to others, I owe the effective use of the pedal board and the wise use of the organ's registers. 

Even if in the course of the eighth year of "Organ and Organ Composition" the Director of the Conservatory of St Cecilia, Director R. Fasano, moved me from your class to the class of Master F. Germani, I to all respects consider myself your creature. 

Dear Master, in you, in addition to the great didactic preparation, I have always appreciated your remarkable human qualities and your availability. In fact, I can’t remember how many times I came to your house for free lessons, always warmly welcomed by your children and your wife, because you weren't satisfied with what you said to us students during the hours of lessons at the Conservatory. 

Before concluding my tribute, I must talk about you as a concert performer: impeccable performer, very interesting for what you were able to convey, worthy of being taken as a model by students and teachers of the Italian conservatories, even when you were performing your own organ compositions. 

So, thank you, Master, for everything. 

With true affection Giuseppe Di Mare 

Maestro Giuseppe Di Mare

Organist and composer, "Honoris causa" organist of the Basilica of Sant'Antonio in Istanbul, the Shrine of Our Lady of the Rosary of Fatima, the Danish Lutheran Church Ansgarkirken in Copenhagen, the church of S. Girolamo in Rimini, and the cathedral of San Nicolò in Noto, Commander of the Order of Merit of the Italian Republic for artistic merits

The key idea that I associate with the memory of my dear Maestro Bellandi is a caliber of absolute integrity, both artistic and human. A very rigorous but mild-mannered teacher, always polite and very amiable in his manners. His whole pedagogical approach shied away from any casual utilitarianism: the teaching of counterpoint, the search for perfection in the conduct of the lines, always in the name of an aesthetic and artistic idal, and never of arid, dogmatic scholastic rules, which indeed were subjected to a critical examination. His teaching constituted a school of thought for me, and its significance went beyond the realm of composition studies.

Maestro Marcello Bufalini

Conductor, Professor of conducting at "Alfredo Casella" Conservatory in L'Aquila

I was a happy student of Maestro Bellandi in the mid-1980s. He prepared me for the exams of the lower section of Composition and for the exam of Organ and Gregorian Chant. I gratefully and with immense pleasure remember the long evenings spent together in his studio, deepening and dissecting counterpoint, fugue, canons, and harmony. The lessons sometimes lasted long hours, and I still have a very vivid memory of the magical moments in which I felt I was moving together with him to a different, "higher" dimension, as if my whole being were an integral part of a cosmic design, almost divine, of which music was a profound, necessary and integral expression. It was not easy, afterwards, to return "to earth" ... The Master's Wisdom was accompanied by a rare sweetness of soul, and his dedication in transmitting his knowledge and the mystery of music to us students was total and endowed with a precious lightness. All that I have learned about the art of composition I owe to him, and with immense gratitude I cherish this in the depths of my memory and my soul. I particularly remember one evening when he gave me a performance of one of his works, playing the wonderful organ he built in his home. I was beside him, admired, turning the pages, and at the end of the performance there was a moment of moving silence, at the end of which the Maestro said a phrase that filled me with joy and pride: "Having you beside me while I was playing it conveyed me a sense of profound peace and serenity ". I think this was one of the most intense and happy moments of my life. Thank you, Maestro.

Maestro Antonio Arena


I remember Maestro Bellandi very well for having studied with him for a period Harmony and Composition. Behind the appearance of an austere man there was a person passionate about his work, enthusiastic, idealistic, free, and unconventional, a true artist. Always ready to help you, advise you and encourage you, he saw teaching as a mission to foster a deeper understanding of music, and thus to gain access to what for him was a transcendent world that sublimates universal brotherhood in the name of God. Although we have seen and heard each other occasionally, we have always had an excellent relationship. I well remember our last telephone conversation before his disappearance. He told me he was incredibly happy and satisfied, despite the great hardships of old age, because he had completed an onerous project which he had always mentioned to me without telling me precisely. On that occasion, he told me that it was the Rosary in Music, with a particularly massive staff. That satisfaction was of comfort to me when, a short time later when I learned that he was gone. A great artist, a genuinely nice person.

Maestro Fabio Renato d’Ettorre

Chair of Guitar at the Francesco Morlacchi Conservatory of Perugia, former Professor at the Bonporti Conservatory of Trento and Riva del Garda, concert performer and composer, member of the Guitar Trio of Rome, critic and musicologist in conferences, newspapers, and periodicals

I studied with him privately for some time and I greatly appreciated his human qualities, as well as his professional qualities already known to all. Today it is important to pay homage to a great Musician and Teacher who lived his mission with deep dedication and humility at the service of future generations.

Maestro Laura Manzini

International pianist, collaborator of Salvatore Accardo, professor of Chamber Music at the State Conservatory of Music "Ottorino Respighi" in Latina

I was a pupil of Maestro Bellandi for several years. I consider much of what I can do and have done in music as the result of having been one of his students, in all respects both for the solid training received, the artistic orientation, and the mental and spiritual approach to the profession. Coming from a previous high-profile but completely different teaching experience, which ended prematurely, at the beginning of my path with the Master I had to face a rather painful period of adaptation in which Bellandi represented with infinite patience and wisdom plus a beacon that illuminates the musical universe all over than a simple dispenser of technical rudiments. Some of his other students and I have often remarked, well beyond the times of the various courses of study, that kind of aura of genius and mystery that enveloped the Maestro when he went deeper into musical questions. Our impression was that his knowledge, not simply of any musical expression, from the cultured to the popular, from the oldest to the most recent, went far beyond the already high degree of didactic preparation, and all his students have been unreserved beneficiaries. I am sure that these talents have inspired and motivated all those up-and-coming musicians who had the good fortune to cross their destiny with that of Maestro Bellandi. It may sound almost like a kind of hagiography, but the plain and simple truth is that Bellandi, if not an angel, was at least an incredibly special and unique person. I went to his house in Rome, the one with the famous pipe organ in two rooms; I followed his teachings as well as his suggestions on recipes and restaurants to visit! In my course of studies, I was lucky enough to be guided by excellent and renowned teachers, but even today, techniques and knowledge aside, I like to consider Maestro Bellandi almost like a second father as well as a life teacher. Obviously, a musician of such a caliber cannot be evaluated only on the didactic level. The entire corpus of his works is of the highest standard. The sharing and enjoyment of this precious legacy is warranted to be pursued in all forms.

Maestro Giovanni Luisi

Music composer for films

I remember Maestro Bellandi very well, as well as the lessons I took with him for a couple of years. Among other things, everything that related to counterpoint, of which he was a profound connoisseur, was remarkably interesting.

Maestro Luca Signorini

Cello teacher at the "Nicola Sala" Conservatory of Benevento, First Cello of the Teatro di San Carlo in Naples, former First Cello of the RAI Symphony Orchestra, of the Symphonic Orchestra of the Accademia di Santa Cecilia, of the Orchestra of the Teatro dell 'Opera di Roma, former chair of Cello at the Conservatory of San Pietro a Majella, composer and writer

I studied Composition under the guidance of Nazario Carlo Bellandi in the late seventies and early eighties of the last century. For many years I have exercised the activity of Choir Direction (which I had deepened under the guidance of Mons. Domenico Bartolucci and Maestro Marcel Couraud), while working at RAI. I remember Bellandi with great affection, thanks to whom I fully understood the musical language, its structures, and its laws. In this, I must say that Maestro Bellandi's lessons have really been useful to me, throughout my whole life.

Maestro Massimo Di Pinto

Former Professor of Choral Practice at the “N. Piccinni "in Bari, formerly responsible for programming the Fifth Channel (Radio5 Classica) and the Quarto (light music) Radio of RAI, former Music Consultant at the RAI TV Production Center in Rome, concert performer, Director and founder of several choral ensembles

I was a student of Maestro Bellandi with whom I achieved the average completion of composition. I always have a fond memory of him.

Maestro Roberto Iantorni

Former Professor of Theory of Harmony and Analysis at the Conservatory of Santa Cecilia in Rome, Complementary Professor of Harmony at the Conservatory of Latina

I would like to express an affectionate memory of Maestro Nazario Bellandi, whom I had the good fortune to meet at the end of the 1960s, in the preparation of my Complementary Organ and Gregorian Chant exams for the Composition course. A person of great sensibility and musical culture, he allowed me to deepen important musical realities that I did not know well and that have then influenced my artistic path, even if different from his on a stylistic level. In the life of every musician, few are the people who get to leave you a profound trace of their teachings: this is only the prerogative of great Masters, and for me, among them, there is also Maestro Bellandi to whom my great gratitude goes for what I have been taught.

Maestro Bruno Biriaco

Conductor, drummer, jazz composer, collaborator, and curator of music columns for RAI, former director of the Abruzzese Symphony Orchestra, former Siena-Jazz drums and ensemble teacher

He was a great Master of Composition, counterpoint, and a very cultured person. I remember him with affection and esteem.

Maestro Filippo Rizzuto

Conservatory Professor of Classical Guitar, former Professor at the Conservatory of Vibo Valentia, of Campobasso and of L'Aquila, concert artist and composer, collaborator in soundtracks of Maestro Ennio Morricone, winner of the first professional prize at the National Guitar Festival of Ancona and of Castellammare di Stabia

Maestro Bellandi was one of the most important didactic figures of my life, whose teachings are still a constant reference in my lessons at the Perugia Conservatory. I studied with him for the Harmony and Counterpoint exams at the DAMS of the University of Bologna. The foundations he gave me were extraordinary, so much so that I was even able to work out my degree thesis in this discipline, which was quite rare at the time. Beyond his incredible teaching power, he also possessed the gift of a character of rare sweetness and enthusiasm, so it was impossible not to become so fond of him, considering his lessons an opportunity for immense joy.

Maestro Marco Albrizio

Pianist, Chair of Main Piano and Professor of Instrumental Teaching Methodology at the Perugia Conservatory

I studied Composition with Maestro Bellandi until the 5th year of Composition in 1989, when he retired. Thanks to him, I immediately understood the importance of counterpoint from the very first lessons and I got so passionate about it that, sometimes, I spent whole nights solving counterpoints with seven and eight voices that I couldn't finish during the day. I also remember how easily he managed to get me to do improvised counterpoints on the piano. Counterpoint was for me real gymnastics for a composer's hand.

Maestro Luigi Francalanza

Pianist and composition Professor at the "Alfredo Casella" Conservatory of L'Aquila. Former teacher at the Conservatories of Rodi Garganico, Campobasso, and Cosenza.

I have a beautiful memory of Maestro Bellandi, he was an exquisite person, not only for his competence but also for his great humanity.

Maestro Alessandra Ramacci

Piano Professor at the Nicola Sala Conservatory in Benevento, former Piano teacher at the Conservatory “F. Venezze” of Rovigo, composer and concert player, winner of numerous prizes in piano competitions

It is a pleasure, as well as a duty, to remember Maestro Bellandi; after a long time, the amount of debt I contracted with him is even clearer to me.

Maestro Mario Carrozzo

Chair of History of Music at the Conservatories of Campobasso and Salerno, musicologist, winner of various piano competitions

I had the good fortune and the honor of meeting Maestro Bellandi and becoming his student during the early 1980s. For me, it represented a fundamental and precious stage in my training. Through his fascinating "counterpoint" lessons, I discovered, for the first time, a deeper "reading" of musical language. With immense gratitude.

Maestro Mauro Assorgia

Teacher of Musical Pedagogy for Didactics of Music at the Niccolò Paganini Conservatory in Genoa, author, and musicologist

I remember that Maestro Bellandi was very much appreciated At that time, especially as an expert in counterpoint.

Maestro Alberto Meoli

Chair in Composition at the Conservatory of Santa Cecilia in Rome, composer, pianist, and conductor, including in the USA and Japan

I was a pupil of Maestro Bellandi for a couple of years, and I have an overly sweet memory of him!

Maestro Gaetano Stella

Pianist, musicologist, choir and orchestra director, teacher of music theory and musicology and piano specialization at the AIDA academy, former Professor of historical music at the Conservatory of Bari

An extraordinary Master. Music was not only a precious subject to be explored, known, taught, and served with the utmost devotion that distinguished him, no, Music was the proven meaning of Life itself, placed at the center of the revelation of all the meanings of the Universe. His lesson was a journey into infinity, in the dream, in the time and in the spasmodic search for that lightning reason that is the pleasure of hearing, certainly not only with ears, but with the whole soul. And that feeling was the certainty of us being first soul, and then body around with adherence and participation. And mathematics and physics met in his explanations in an enchanted abstraction, in an unfathomable magic and they led together to the writing and construction of a personal method. The invention, he explained to me, does not only concern us who hungry look for it, but all those who expect it and will therefore exalt it. If this happened even in a basic exercise of a fugue, there was happiness ... In an interval of a few hours of a class, everything stopped on reasoning in full light, around a bass or notes that were to be found, to meet fully, in absolute harmony, in an irreplaceable, ineluctable interlocking, as the only correct answer to be found, in a movement that is right and perfect for the earth, the air, the research ...! … He said to me: “The solutions are many but the most beautiful are unique, and they are the ones for which a composer must overstrain himself first and be happy later”. So, we used to talk about everything, from philosophy to science, without being afraid of being distant from the subject that had brought me to him to understand, because to utterly understand it I had to access that "everything", that "core" with my learning which contains every truth and of which music is the explaining voice. One afternoon he said to me: “... wait a minute Miss, I'll show you something, you deserved it! ". He got up and revealed a whole other part of the room to my eyes. In the background there was an immense pipe organ. "I built it, piece by piece !!!” He said to me, with the glint in the eyes of those who see their conquest again!”.

Mariella Nava
Singer-songwriter, winner of the 1994 Volare Award, winner of the 2004 Gondola d’Oro Lifetime Achievement Award, 2004 finalist of the Amnesty International award in the Italy section, winner of the 2006 Award as best singer-songwriter at the Venice Music Awards

I studied composition with Maestro Bellandi for a short but intense period. His lessons had no time limits, they went on until questions were completely dissected and those questions enriched by other questions. The depth of his teaching, and in particular his enthusiasm for counterpoint, made each meeting a special occasion, as well as a form of human enrichment. I remember the Master with great affection and gratitude, he was a figure like there are probably no more. Will there be any in the future? Thank you, Master.

Professore Roberto Scoccimarro

Musicologist, Berlin State Library, Department of Music, Author and Researcher, former Lecturer, Cologne University of Music and Dance, Germany

I was a student of composition of Maestro Bellandi. Musically speaking, he was the most important and formative figure for my career and my musical thinking. His moral and professional righteousness and his vision of the Music phenomenon have been and will always be a fundamental point of reference for me.

Maestro Pierluigi Morelli

Music Editor in Vatican Radio Editorial Department, former Choir Director of “T. L. da Victoria ”, composer and flutist

Where is the place to learn art? Who is responsible for passing on the technique that opens doors and reveals hidden places? The first question can be answered with a now obsolete word: an artist’s workshop. This was, or perhaps still is today, the studio of an artist where the disciples learned, in proportion to their capability to be curious and amazed, the technique that only the Master with his experience, his knowledge and the gift of an innate communicative ability could teach them. For me, that Maestro was Nazario Carlo Bellandi, of whom I want to recall an aspect that goes beyond his enormous musical culture and his great quality as a performer and composer. This aspect is typical of very high-level teachers irrespective of the subject of their teaching. I am talking about a warning that Maestro Bellandi addressed with his example to me, and I believe to all his students: the alert read "Gnothi seauton". It is a know yourself suggested through music and it is in this exhortation, offered with grace and without impositions during my passionate study, that I tried to understand who I was and what my limits were. A Master who is able to indicate this field of research is a great Master and his teaching precious and imperishable.

Maestro Renzo Frati

Piano teacher, composer, and pianist

Some of his other students:

James Edward Goettsche, former designated organist of the Patriarchal Basilica of St. Peter appointed by the Chapter of the same Basilica and organist for the liturgical celebrations of the Supreme Pope

Mons. Valentino Miserachs Grau, Dean Emeritus of the Pontifical Institute of Sacred Music, Chapel Master of the Basilica of Santa Maria Maggiore in Rome

Juan Paradell-Solé, emeritus organist of the Papal Liberian Basilica of Santa Maria Maggiore in Rome

Gianluca Libertucci, former organist of the Patriarchal Basilica of St. Peter for the Vicariate of the Vatican City and substitute organist for the liturgical celebrations of the Supreme Pope

Padre Vittorino Serrao O.F.M., former substitute organist in the Patriarchal Basilica of St. Peter for the Vicariate of the Vatican City

Agostino Borromeo, Lieutenant General of the Equestrian Order of the Holy Sepulcher of Jerusalem, University Professor of History

Boris Porena, composer, former Professor at the Conservatory of Perugia

Nicola Colabianchi, composer, pianist, conductor, former artistic director of the Rome Opera House

Marco Grisanti, Chamber Music Professor at the Conservatory of Campobasso, pianist

Claudio Dall’Albero, Professor of Choral Music and Choir Direction at the Conservatory of Santa Cecilia in Rome

Alberto Galletti, Professor of Main Piano at the Conservatory of Santa Cecilia in Rome

Lucia Ronchetti, composer

Elisabetta De Leoni, conductor

Lara Morciano, Chair of Score Reading at the Conservatory “Umberto Giordano” of Foggia

Giovanni Scaramuzza Fabi, Professor of Score Reading at the Conservatory of Santa Cecilia in Rome

Paolo Lucci, Choir director

Antonino Cascio, Conductor, former Professor at the Conservatory of Naples

Remo Zucchi, pianist

Antonio Di Pofi, composer for theater and film music

Antonio Arena, Artistic director of the Opensound publishing house

Giuseppe Schinaia, composer, musicologist, organist

Claudio Bergamini, pianist

Felicia Gregorio, Professor of Piano and Psychology of Music at the Conservatory Bruno Maderna in Cesena

Haukur Gudlaugsson, organist

Francesco Prode, pianist

Mario Madonna, pianist

Daniele Mazzanti,  conductor, Argentine Tango Artistic Director

Franco Presutti, violinist

Maria Gabriella Cerchiara,  pianist, composer, musicologist

 (Ad memoriam)

Wijnand van de Pol, former organist, Chair of organ at the Conservatory of Perugia and Director of Music of the Anglican Church of All Saints in Rome

Antony Garlick, former composer and lecturer at Wayne State College, USA

Roberto Melini, former Chair of Piano at the Conservatory “F.A. Bonporti” of Trento

Pedro Oltra, former Professor at the “A. Caselle "of L’Aquila

Pawlu Grech, composer

Padre Egidio Circelli, organist

Gesualdo Coggi, composer and conductor of bands

Giuseppe Grella, former Professor at the Conservatory Cimarosa in Avellino, Refice in Frosinone, and Santa Cecilia in Rome

Don Paolo Basili, formerly rector and organist of the Church of Santa Maria Regina Pacis, Ostia

Some of his other colleagues who have known him and have interacted with him:

Mons. Pablo Colino, Emeritus Chapel Master of St. Peter's Basilica in the Vatican, former academic and Director of Music Education courses and courses at the Roman Philharmonic Academy and the Tiberine Academy

Franco Petracchi, Double bass soloist and conductor

Teresa Procaccini, composer, former Director of the Conservatory of Foggia, teacher of Composition at the Conservatory of Santa Cecilia in Rome


(Ad memoriam)

Erich Arndt, former designated first organist of the Patriarchal Basilica of St. Peter in the Vatican

Carlo Maria Giulini, former conductor including of the RAI Symphony Orchestra, the Orchestra of the Teatro alla Scala in Milan, the Chicago Symphony Orchestra, the London Philharmonic Orchestra

Armando Renzi, former composer, conductor, Director of the Giulia Chapel

Bruno Maderna,  former conductor

Guido Turchi, former Director of the Conservatory of Parma, and Conservatory of Florence

Alessandro Bustini,  former conductor of the Conservatory of Santa Cecilia in Rome

Carlo Jachino,  former Professor of Composition at the Conservatory of Parma, Rome, and Naples

Elena Barbara Giuranna, former Professor of Composition at the Conservatory of Santa Cecilia in Rome

Vincenzo Vitale, former pianist, Professor at the Conservatories of Udine, Palermo, Naples, and Rome

Giancarlo Bizzi, former Chair of Composition at the Conservatories of L'Aquila and Rome

Lydia Ivanova, former Professor of Harmony in Composition at the Conservatory of Santa Cecilia in Rome