Spartiti Bruno Mantovani per orchestra

After Eclair de lune for three principal snare drums, three ensembles and electronics, and after my Concerto for two violas written for Tabea Zimmermann and Antoine Tamestit, I felt compelled to compo...

This is the second time that I have been asked to pay musical homage to Beethoven: following Riccardo Chailly's request, I incorporated the opening Bb from the Fourth Symphony into an orchestral piece...

Art d'écho (identical in French pronunciation to the term 'Art deco') was composed in July 1998 at the request of Charles Frey, the artistic director of the Orchestre Poitou-Charentes, to whom the wor...

What fascinates me in Schubert's lieder, more even than the unusually creative melodic lines, is the number of piano accompaniment patterns (or Formel in German). These repetitive elements often conve...

Time Stretch (on Gesualdo) takes as its starting point Gesualdo's S'io non miro non moro from Book 5 of the Madrigals. From this short piece for five voices I derived a harmonic tapestry of 130 chords...

By the greatest fluke, in 2007 the two principal European orchestral conducting competitions proposed that I write an original work, which would be a requirement for the candidates. Finding the coinci...

Since I began writing music, the idea of conflict is one of my primary preoccupations. It has fuelled both my fondness for the concerto genre, and for spatialization. Over the last several years, I ha...

With his new work Postludium, Bruno Mantovani proposes a prolongation to his opera Akhmatova. With its condensed musical language, and quick rippling gestures, it is not a question of a conclusion, bu...