Daniele Bravi

Works by Daniele Bravi

Biography

Born in Rome in 1974, Bravi started studying composition at the Conservatorio "S.Cecilia" in Rome where he achieved his diploma cum laude, also winning the Marcello Intendente prize for the best diploma of the academic year. He then studied for three years at the Conservatoire National in Strasbourg under the guidance of Ivan Fedele and later with Salvatore Sciarrino, Pascal Dusapin, Wolfgang Rihm and Helmut Lachenmann. From 2006 until 2008 he studied composition and electronic music at IRCAM in Paris.

Since 2007 he is professor of composition in Italy. Currently he is Chair Professor of composition at Conservatory of Music "Ottorino Respighi" - Italy.

Bravi has been invited to give lectures at the Sibelius Academy, Estonian Academy of Music and Theatre, Conservatoire de Musique (Geneve) and Conservatoire de Strasbourg.

His first monographic CD “Del Vero e Del Falso” (2013-Stradivarius - Times Future Series) has been recorded by Arditti Quartet, Donatienne Michelle-Dansac, Algoritmo Ensemble, Ensemble Vide, Roberta Gottardi, Matteo Cesari, Keiko Murakami, Anna D’Errico, Marco Rogliano, Béatrice Zawodnick and Marco Angius.

His music is published by Universal Edition.

About the music

"There is in Bravi an unprejudiced investigation into the potential of sounds. But the musical composition is also how the sounds are arranged, how they act. In Bravi's works they act in an admirable, absorbed proceeding with shots of surprising singability." - Mario Gamba - Il Manifesto Alias - January 2014.

Daniele Bravi's music is based on an accurate research of tone colours which he achieves by using classical instruments and on the manipulation of the concept of time: the extremely conscious use of the sound material enables him to control impressions of the flow of time.

Bravi's musical ideas are connected with philosophy, mathematics, physics and architectural principals.

Initially influenced by the works of C.E. Ives, he later developed his studies on the spatialization of sound and on timbral research.

This exploration of sound is part of a clear formal context, characterized by an economy or material and a continuous reference to musical fragments, paying particular attention to the “musical perception” of the listener.