2023 – Lost Tapes Vol. 12 - Antonio Petrone (Angapp Music - It)

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General Details

Title: Lost Tapes Vol. 12 Antonio Petrone
Groups: Bandas of Mottola, Squinzano, Conversano, Gioia del Colle, Acquaviva delle Fonti, Sava, Martina Franca and Bitritto conducted by Jorge Egea, Pietro Marmino, Raffaele Miglietta, Mario Cananà, Anna Ciaccia, Susanna Pescetti and Michele Bozzi
Years: 1973-2000 © 2023
Graphic: 3Heads Agency
Text: Pierfrancesco Galati
Translator: Rita Valentini
Recorders: Domenico Fiore, Aldino Miceli, Paolo Tricase, Tonino Santese and Michele Pichierri
Discover, digitalization, sound track selection, editing: Livio Minafra
Mastering and restoration sound engineer: Gianluca Caterina
Label: Angapp Music – It
Produced by: Livio Minafra

«Trumpeter, don’t worry, the fur of the cursed horse shines!»

Trumpettiè, nun t preoccupà, a cavallo jastumato ci luccica u pilu! This was the answer that Padre Pio himself gave to Antonio Petrone on June 25, 1958! The Band of Lecce directed by M° Alfredo D’Ascoli played in fact that day in San Giovanni Rotondo and Petrone, who was the leading soloist of the ensemble and who was also native of the same small town as Padre Pio – Pietrelcina, approached Padre Pio making himself recognized and asking him why there was so much envy around his own figure as a soloist. Question to which Padre Pio answered laconically in the Pietrelcina vernacular.

Episode as extraordinary as his meeting with Maria Callas, who listened to Petrone in Capri in 1964 during a performance with the Banda di Squinzano conducted by Gioacchino Ligonzo in which they performed Trovatore. Callas listened to the entire concert and after complimenting him, she wanted him for dinner by candlelight. Incredible but true stories of days gone by. But let’s rewind the tape.

Antonio Petrone was born in Pietrelcina (Benevento) on 1 April 1934. From the very first time he showed love for music; his parents allowed him to attend the musical lessons given by his father’s brother Vincenzo Petrone, thus joining the local town band “Gran Concerto Musicale di Pietrelcina” and making his debut on April 14, 1946 with a cylinder sopranino flugelhorn. At the time, the band represented the redemption of the middle and lower population, often illiterate, thirsting for opera music in the squares. After some time and after a parenthesis in the Banda di Sora (Frosinone), in 1951 he was called to serve as concert flugelhorn player in the Banda di Castellana Grotte under the direction of Umberto Minervini. Being a soloist meant, compared to the other band members, becoming a privileged person: thus not sleeping on uncomfortable and rusty cots in lodgings made available by the Comitato Feste Patronali (Patronal Festivals Committee), very often found in local school buildings or residences; not making processions and not having to deal with begging, cooking and every logistical need. In addition, the soloists were paid handsomely and the committee provided them with a hotel and restaurant.

Their greatest satisfaction was the artistic success with the sound of their instruments which were supposed to be able to evoke emotional response, bring tears to the eyes of those peasants and children of the people with tired faces, marked by wrinkles, from the many days of work spent in the countryside under the scorching summer sun and with modest houses, but with great sensitivity. Future stages of Petrone were 1953 and 1954 respectively with Casalanguida (Chieti), maestro Angelo Basilico D’Annunzio, and Roccanova (Potenza) under Guido Emanuele’s guidance and then move  into the great Banda di Squinzano (Lecce) in 1955  under the direction of Pino Rosiello, from Vieste (Foggia), who turned out to be one of the best substitutes for Gennaro Abbate, who was elderly at the time but still alive.

In 1956 a significant interruption became necessary due to Petrone’s military service in Bari; discharged in 1957 he was again engaged as a concert flugelhorn by the band of the Apulian capital directed by maestro Pasquale Esposito, along with his daughter Lina; the presence of the latter represented a tangible example of the right, natural affirmation of women in a field, that of band conducting, dominated till then by men only.

The following two years in Lecce 1958-1959, under the direction of maestro Alfredo D’Ascoli: another great banda. For many years the performances of Lucia di Lammermoor and Trovatore were considered memorable and today we can listen to them again with Petrone but not with the aforementioned ensemble.

Then it was the turn of the Band of Mottola (Taranto), with which he began a long association, although discontinuous. He initially had Dino Milella as director – 1960 – and over the next two years with Maestro Michele Lufrano (formerly soprano flugelhorn of the Banda di Squinzano under the direction of Gennaro Abbate); he spent the next two years in Squinzano with the great Gioacchino Ligonzo.

In 1965 he returned to Mottola with Ligonzo to move later on, from 1966 to 1970 to the province of Bari, providing his art and his class in the Banda di Gioia del Colle with Alfonso Matrella and the Banda di Conversano still under the direction of Ligonzo and then Nicola Centofanti.

The following three years – 1971/1973 – he returned to Mottola, with the young and promising Spanish director Jorge Egea, who after some successes in the major theaters in Europe, arrived in Puglia, first directing the Banda di Squinzano in 1966 and then Mottola. With this team he performed the Hispanic repertoire for the first time, brought by the maestro Egea, as the zarzuelas La Picara Molinera by Pablo Luna, but especially the Dogaresa by Rafael Millàn.

From 1974 to 1975 we find him in Salento in the Banda Verde di Nardò directed by Gino Bello to then land in Castellana Grotte (Bari) with Amerigo Piccione; he spent the following years in Acquaviva delle Fonti (Bari) with maestro Raffaele Miglietta, to then land in Lecce under the direction of Franco Lentini; finally, Conversano (Bari) with Pietro Marmino. In the years 1982 and 1983 Squinzano (Lecce) again with Jorge Egea, to then move on to Gioia del Colle (Bari) again Marmino.

1984 and 1985 instead saw him in an almost bandistically unknown public square, namely Sava, conductor Mario Cananà, who still fondly recalls the experience in Sava: “Sava was a winning bet for me, because no one in those years would have thought that an unknown name like that of Sava, would have given a hard time to the high-sounding names of Lecce, Squinzano and Gioia del Colle!! In addition, I had with me the best soloists of the moment, one of all the great Antonio Petrone on flugelhorn…” The following year it was the turn of Manduria (Taranto) with Maestro Mario Ciervo.

In the years 1988 and 1989 we find him in Acquaviva delle Fonti with Mario Liguori and from 1990 to 1992 in Mottola again with Jorge Egea before moving on to Castellana Grotte with Maestro Pirondini.

In the 1994 artistic season there is Chieti, in the last band season of maestro Nicola Centofanti, to move to Castellaneta (Taranto) with Guglielmelli in the years 1995 and 1996. From 1997 to 2001 Petrone is in Martina Franca with the presence of two female directors, namely Anna Ciaccia and then Susanna Pescetti and then again two women at the head of the Banda di Castellana Grotte: Maria Amato and Paola Vizzi. He ended his career in 2008 with the Avellino Banda, conductor Carmine Santaniello.

Antonio Petrone has always played a Rampone & Gazzani cylinder sopranino flugelhorn (flicornino), except in the 1980s when he played a piston Couesnon one sold by his colleague Cataldo Roselli, tenor flugelhorn soloist.

Nominated Knight of the Republic by Giorgio Napolitano on 27 December 2014, he now lives between Castellana Grotte and Pietrelcina.

Musicians, years and bandas
  Excerpt Time Soloists Banda Date Place/Fest
1. Figlia… mio padre *** from Rigoletto by Giuseppe Verdi 4:05 Petrone,

Agostino Campanale baritone flugelhorn

Gioia del Colle conducted by Pietro Marmino 1984 Capurso
2. Caro nome from Rigoletto by Giuseppe Verdi 7:38 Petrone Bitritto conducted by Michele Bozzi 24/4/1998 Loseto, Festa di San Giorgio Martire
3. Quartetto ## from Rigoletto by Giuseppe Verdi 6:14 Petrone,

Antonio Rizzo soprano flugelhorn,

Raffaele Panza tenor trombone,

Luigi Carluccio baritone flugelhorn

Sava conducted by Mario Cananà 24/06/1985 Sava, Festa di San Giovanni Battista
4. V’ho ingannato… Lassù in cielo *** from Rigoletto by Giuseppe Verdi 6:30 Petrone,

Agostino Campanale baritone flugelhorn

Gioia del Colle conducted by Pietro Marmino 1984 Capurso
5. D’amor sull’ali rosee ## from Trovatore by Giuseppe Verdi 5:35 Petrone Sava conducted by Mario Cananà 02/06/1985 Racale (Le) Festa di San Sebastiano
6. Miserere d’un’alma già vicina ## from Trovatore by Giuseppe Verdi 5:03 Petrone,

Raffaele Panza tenor trombone

Sava conducted by Mario Cananà 02/06/1985 Racale (Le) Festa di San Sebastiano
7. Parlar non vuoi ## from Trovatore by Giuseppe Verdi 3:13 Petrone,

Antonio Rizzo soprano flugelhorn,

Raffaele Panza tenor trombone

Sava conducted by Mario Cananà 02/06/1985 Racale (Le) Festa di San Sebastiano
8. Sempre libera *** from Traviata by Giuseppe Verdi 4:14 Petrone,

Michele Aloisio tenor trombone

Martina Franca “Pro Banda” conducted by Anna Ciaccia 09/1997 Casamassima, Festa di San Rocco di Montpellier
9. Dite alla giovine si bella e pura *** from Traviata by Giuseppe Verdi 2:49 Petrone,

Giuseppe Ciura baritone flugelhorn

Martina Franca “Pro Banda” conducted by Anna Ciaccia 09/1997 Casamassima, Festa di San Rocco di Montpellier
10. Amami Alfredo *** from Traviata by Giuseppe Verdi 1:56 Petrone,

Massimo Cianciaruso clarinet

Martina Franca “Pro Banda” conducted by Anna Ciaccia 09/1997 Casamassima, Festa di San Rocco di Montpellier
11. Addio del passato *** from Traviata by Giuseppe Verdi 3:21 Petrone Martina Franca “Pro Banda” conducted by Anna Ciaccia 09/1997 Casamassima, Festa di San Rocco di Montpellier
12. Casta Diva * from Norma by Vincenzo Bellini 5:09 Petrone Acquaviva delle Fonti conducted by Raffaele Miglietta 8/8/1977 Terlizzi (Ba), Festa Maggiore
13. Deh non volerli vittime from Norma by Vincenzo Bellini + Ritirata and Piave 9:12 Petrone Squinzano conducted by Jorge Egea 16/10/1983 Ceglie del Campo (Ba), Festa di Maria SS. di Buterrito
14. Scena della pazzia *** from Lucia di Lammermoor by Gaetano Donizetti 14:49 Petrone,

Antonio Sorice flute

Conversano conducted by Pietro Marmino 1980
15. Spargi d’amaro pianto *** from Lucia di Lammermoor by Gaetano Donizetti 4:09 Petrone Conversano conducted by Pietro Marmino 1980
16. L’altra notte in fondo al mare *** from Mefistofele by Arrigo Boito 3:21 Petrone Gioia del Colle conducted by Pietro Marmino 1984 Capurso
17. Forma ideal purissima + Amore misterio celeste from Mefistofele by Arrigo Boito 6:33 Petrone,

Cataldo Roselli tenor trombone

Mottola conducted by Jorge Egea 1973
18. Aria di Santuzza from Cavalleria Rusticana by Pietro Mascagni 4:46 Petrone Sava conducted by Mario Cananà 1985
19. Mi chiamano Mimì from Bohème by Giacomo Puccini 5:32 Petrone Martina Franca conducted by Susanna Pescetti 28/8/2000 Capurso (Ba), Festa della Madonna del Pozzo
20. Sono andati e Finale from Bohème by Giacomo Puccini 6:00 Petrone idem idem idem
21. Vissi d’arte ## from Tosca by Giacomo Puccini 3:33 Petrone Sava conducted by Mario Cananà 24/06/1985 Sava, Festa di San Giovanni Battista
22. In questa reggia from Turandot by Giacomo Puccini 4:54 Petrone Squinzano conducted by Jorge Egea 16/10/1983 Ceglie del Campo (Ba), Festa di Maria SS. di Buterrito
23. Duetto ** from L’amore che torna by Giuseppe Piantoni 4:26 Petrone,

Cataldo Roselli tenor flugelhorn

Conversano conducted by Pietro Marmino 6/9/1980 Montemesola (Ta), Festa di San Michele Arcangelo
24. Ya muerto està mi amor # from La Dogaresa by Rafael Millàn 3:45 Petrone Squinzano conducted by Jorge Egea 15/09/1982 Copertino, Festa di San Giuseppe da Copertino
25. Las flores de mil colores # from La Dogaresa by Rafael Millàn 9:44 Petrone,

Antonio De Jaco tenor trombone,

Antonio Stefanizzi baritone flugelhorn

Squinzano conducted by Jorge Egea 15/09/1982 Copertino, Festa di San Giuseppe da Copertino


Unknown recorders except Domenico Fiore with * , Aldino Miceli with ** , Paolo Tricase with *** , Tonino Santese #, Michele Pichierri ## .

Maestro's Bios

Pietro Marmino

Pietro Marmino was born on June 29, 1915 in Salerno. After spending some years in an institute, he was adopted by a family in Sarno (Sa) and soon showed his musical tendencies, which he developed by obtaining a diploma in clarinet at a music school affiliated with the “Umberto I” orphanage in Salerno. Despite his talent, he was not accepted into the Navy band due to his height. One day, however, he was noticed by Maestro Giuseppe Piantoni, who appreciated him and took him to Conversano. In a short time, he became a solo clarinetist and later an artistic band leader, as stated in a promotional brochure for the 1949 artistic season. Following Maestro Piantoni’s deteriorating health, the band was entrusted to Gioacchino Ligonzo, and it is said that an intense rivalry arose between Marmino and the new director. His qualities earned him recognition from the Ministry of Public Education, Inspectorate for Artistic Education, as suitable for the role of band director, which soon led to his appointment as the Concert Band Director of Castellana Grotte, Taranto “S. Cecilia”, Cervaro del Lazio, Canosa di Puglia, Martina Franca “Mondial”, Gioia del Colle, Regione Abruzzo, Conversano, Montemaggiore, S. Giorgio Jonico, and Sarno (where he founded the Anbima school). His preference for the harmonica was directed toward works such as “Cinderella”, “Tosca”, “Turandot”, “Lucia di Lammermoor”, and “Il Trovatore”, but special attention was paid to the symphonic poem “Olanda”, composed by the Sarnese violinist Raffaele Vincenti, which was brought to the forefront by Maestro Marmino in 1978 when he was the director of the Regione Abruzzo Band. After his death, no band performed the aforementioned symphonic poem, as only Marmino possessed the score. He died in Vicenza on January 6, 1994, but rests in the cemetery of Sarno.

Raffaele Miglietta

Raffaele Miglietta was born in Francavilla Fontana on February 21, 1919. He graduated in Clarinet, Composition, Instrumentation for Bands, and Choral Singing from the “S. Cecilia” Conservatory in Rome. Introduced to band conducting by Maestro Antonio D’Elia (who was also known for his historical adaptation of Respighi’s “Pines of Rome” for a band), he began his career as a band director in Carosino (Taranto). He later moved to Tuglie (Lecce) to lead the local band. After World War II, in 1951, he successfully took over the reins of the Corato band. It is said that in 1961, on the occasion of the election of President J.F. Kennedy, Miglietta wrote and recorded a march titled “Kennediana” and sent it to the United States. Vincenzo Ciliberti tells the story: “The lucky thing was that in the summer of ’62, Mrs. Kennedy came to Italy on vacation, and our Band was on the Amalfi Coast for a party. With the committee’s agreement, we went to Ravello where the First Lady was staying, and we played the composition live for her. Then the lady’s greeting, with the promise of organizing a tour in America. Everything went up in smoke due to the President’s assassination.” Nevertheless, the experience in Corato lasted until 1972, and then he moved on to lead the band in Montefalcione (Av) in the following two years, taking over from Vincenzo Alise. In 1975, the Maestro recomposed the Band of Acquaviva delle Fonti without the patronage of the municipal administration, directing it also in the years ’77 and ’78, interrupted by a brief return to Corato in 1976. The next stop was in his hometown of Francavilla Fontana, where he brought a large number of musicians from Ruvo di Puglia and Corato and remained until 1982 when he was replaced by Michele Santaniello. He then directed the band concert in Trani, which had Vito La Selva as its representative and coordinator on the circuit. In 1987, Nino Farì wanted him as the conductor of the reconstruction of the “Classico Concerto Bandistico Schipa – D’Ascoli Città di Lecce.” He directed in Lecce until 1988 and then moved to the podium of the Bisceglie band. His historic partnership with soloists Vincenzo Ciliberti, solo flugelhorn, Cataldo Valerio, tenor flugelhorn, and Cataldo Maggiulli on the baritone flugelhorn was well known, and they were nicknamed the “Trio delle Meraviglie” (in the same years as the football trio Gullit-Rijkaard-Van Basten). The pieces he usually preferred to conduct on the harmonica were Liszt’s “Preludes,” “Gioconda,” “Lucia di Lammermoor,” and the symphonic poem “Carri Armati” by Giulio Andrea Marchesini. Finally, among other works, he arranged for the band the Don Checco, a comic opera by Nicola De Giosa, and Verdi’s Attila. He died on December 5, 1994.

Jorge Egea

Jorge Egea. Born in Barcelona on March 31, 1933, he graduated in piano, orchestra, and choir conducting from the conservatory of the Catalan city. From 1957 to 1965 he was director of the “Jantena” ballet, as well as pianist and performer at the “Candijelas” theater in Barcelona, and in Barcelona, he also held the position of director and master of ceremonies at the city’s Liceu theater. At the “Principal” theater in Zaragoza, he conducted Madama Butterfly, Rigoletto, and Lucia di Lammermoor; he was choirmaster at the opera theaters in Dublin, the “Regio” in Turin, the “Carlo Felice” in Genoa, and the “Petruzzelli” in Bari, where he also served as a hall director and musical director. He led the band concerts in Squinzano (Le), Mottola (Ta), Montemaggiore, Mercato S. Severino, and Gioia del Colle. He composed several symphonic marches, and a lyrical opera, and made several transcriptions for bands. In his transcription of Pietro Mascagni’s Cavalleria Rusticana, he inserted the organ for the recitatives, which was replaced by a player piano that the maestro placed beside the podium. He introduced zarzuela – the Spanish equivalent of lyrical opera – into the band repertoire.

Mario Cananà

Mario Cananà. Born in Trepuzzi on March 16, 1942. After classical studies at the Calasanzio Institute of the Scolopi fathers in Campi Salentina (Le), he began studying singing in 1960 with the famous Lecce tenor Franco Perulli; after a year he won the national ENAL competition in Parma, and the following year he won the audition for the singing school at La Scala theater in Milan. In the summer of 1962, he made his public debut with selections from Il Trovatore, Norma, La Traviata, Lucia di Lammermoor, as well as various operettas and Neapolitan songs. After his career as a singer, he began his career as a conductor. In 1983, he led the “Schipa-D’Ascoli” band in Lecce. From 1985 to 1986, he then directed the nascent band of Sava. Later, he took the podium of the “Ernesto and Gennaro Abbate” Grand Band Concert in Squinzano and ended his career by conducting the young band of Tricase. In 1990, he finally directed the band of Gioia del Colle, with which he performed in Milan, in Piazza della Scala to the applause of the Milanese, and obtained a commemorative plaque of honor. In his life, he also won the following awards: the Bacchetta d’Oro Prize and some Gold Medals with the Bands of Lecce, Sava, and Gioia del Colle. He currently lives in Trepuzzi.

Susanna Pescetti e Antonio Petrone

Susanna Pescetti, born in Palagonia (CT) but a Neapolitan by adoption, began studying piano and composition at the San Pietro (a Majella Conservatory in Naples) with the masters Pennella, Vitale, and Mazzotta, graduating in both specialties. Later, she followed courses in orchestra conducting with Maestro Donato Renzetti, graduating with top marks. A daughter of art, Luigi Pescetti, a sort of historical leader of the band like the Apulian Gioacchino Ligonzo, she has collaborated with various national and international music institutions: Orchestra del Teatro Massimo Bellini di Catania, Orchestra della Fondazione Arena di Verona di Verona, Orchestra del Teatro Politeama di Lecce, Orchestra Teatro “Giuseppe Verdi” di Salerno, Orchestra Sinfonica del Friuli-Venezia-Giulia, Sinfonica di Bari, Ico della Magna Grecia, Sinfonica Abruzzese, Orchestra Teatro Rendano di Cosenza, Orchestra di fiati di Milano, Ico di Lecce, Orchestra da Camera “I Solisti del Teatro dell’Opera di Roma,” I solisti del Teatro San Carlo di Napoli, Carnegie Hall di New York with the New England Symphony Orchestra, Praga North Czech Symphony, Mexico City at Bellas Artes, Kratico di Salonicco, Palais de la Musique e Salle du Conservatoire di Strasburgo, Teatro della Fondazione Pescatori di Luxemburg, Studio 4 della Radio di Bruxelles, Palais Bercy di Parigi, Teatro Bellini e Teatro Mercadante di Napoli, Orchestra Sinfonica de Guanajuato, Orchesta Sinfonica di Stato del Messico, Orchestra Classica di Madeira (Portugal), Orchestra da Camera di Cascais (Portugal), Orchestra Filarmonica di Stato di Iasi (Romania), Orchestra Filarmonica Oltenia di Craiova (Romania), Orchestra Sinfonica di Stato di Astana (Kazakhstan), Orchestra dell’Opera di Chişinău (Moldavia), San Pietroburgo Sala Shostacovich (Russia), Orchestra Sinfonica di Acapulco (Mexico), Kso Karntner Synphonieorchester at the Konzerthaus in Klagenfurt (Austria), Sinfonica di Porto Alegre (Brazil), Sinfonica Mar de La Plata (Argentina), Orchestra Sinfonica di Stato della Radio di Bucarest, Orchestra di Stato di Atene (Greece), Orchestra del Teatro Craiova (Romania), Ensemble della 141 Radio di Sofia (Bulgaria), and has participated in various festivals such as Kammermusik Festival in Oslo, Primavera Italiana in Tokyo, Città Spettacolo in Benevento, Festival di Kotor Montenegro and Zagreb (Croatia), Vespri d’Organo (Milan), Nancy France, Ville Vesuviane. She has collaborated with great opera artists such as Maria Dragoni, Nicola Martinucci, but also with theatre artists such as Giorgio Albertazzi, Tato Russo, and others. In terms of bands, she has elegantly and forcefully led the bands of Fisciano, Ceglie Messapica, Martina Franca, and currently the historic Gran Concerto Bandistico “Giuseppe Piantoni” of the city of Conversano. She is now one of the most sought-after conductors in the band world.

Anna Ciaccia

Anna Ciaccia. Born in Fasano (Br), she studied piano and obtained a diploma in Opera Singing from the “Tito Schipa” Conservatory in Lecce. She also earned a degree in Musicology from the University of Salento in Lecce and a diploma in Orchestra Conducting for Opera at the Conservatory in Pescara in 1999. She attended composition, band instrumentation, and orchestra conducting courses under the guidance of masters Franco Arigliano, Nicola Hansalik Samale, Michele Marvulli, and Bruno Aprea. She has received several awards: in 1990 the Gold Medal issued by the Ministry for Equal Opportunities, in 1996 the Silver Baton, in 1998 the Golden Baton, in 2017 the Career Award “Excellence” in Lecce, in 2018 the Commitment Award “Southern Woman” 2018, as well as certificates of esteem from the theatrical entities of Bari, Giulianova (Te), Craiova (Romania), where she conducted Wolfgang Amadeus Mozart’s Symphony No. 38 in D major K 504 (Prague); she has conducted band concerts in Martina Franca (Ta), Lecce “Giacomo Puccini”, Fisciano (Sa), San Giorgio Jonico (Ta), Racale (Le), Squinzano “Ernesto e Gennaro Abbate” (Le). Currently, she is a Stage Maestro for the opera seasons organized in Lecce and artistic director of the Musical Association “Amici della Lirica” in Lecce.


Michele Bozzi. Born in 1958, he studied at the Flute School of M° Antonio Minella at the Piccinni Conservatory in Bari, graduating with honors in 1978. He then continued his studies with William Bennett, Robert Dick, Severino Gazzelloni, Peter-Lukas Graf, Raymond Guiot, Maxence Larrieu, Alain Marion, Aurèle, and Christiane Nicolet, receiving praise and tangible demonstrations of merit, esteem, and friendship. He was already the 1st Flute of the Petruzzelli Theater in Bari and Vice-Maestro of the Philharmonic Orchestra of the Province of Matera (a “Super Band” of 120 elements led by M° Rosario Lacerenza) and was for 27 years, from 1978 to 2005, the holder of the Flute Class at the Duni Conservatory in Matera. Since November 2005, he has held the same role in Bari, retiring in 2022. Awarded in several National and International Competitions, he has directed his research, chamber, and soloist interests towards the different aspects of instrumental music, ranging from Baroque music to contemporary music, never abandoning his passion for the band, always looking for historical repertoire that has fallen into oblivion. After being a Ministerial Commissioner for the National Flute Chair Competition (Verona 1991/92), he is now often present on juries of National and International Flute and/or Chamber Music Competitions. He has played all over the world and recorded for radio and TV broadcasters, as well as for record labels as a soloist and in ensembles. He collaborates as a flutist with the “Collegium Musicum” of Bari directed by M° Rino Marrone, holds Flute Refinement Courses and Master-Classes, and carries out Orchestra Conducting activities.