A versatile musician and music producer. Alessandro’s preference for board instruments was clear when as a child he began to play as a self-taught pianist. He also started composing at a very early age. At 14 y.o. he wrote a cycle of Mazurkas inspired by Chopin.
He deepened aspects of jazz composition and silent-film music, and became a close friend with Eric James, the associate composer of Sir Charles Chaplin, until his death. In 2000, a few minutes before his performance, James put a paper on the grand piano, and in front of the audience wrote: nist of immense talent and will surely make his mark on the musical profession […].

French composer Yann Tiersen has written music for various instruments, including guitar, piano, synthetizer, violin, accordion, xylophone, and melodica. Some of his compositions have been used in film scoring, such as “Amélie”, whose soundtrack primarily features excerpts from his first three studio albums (“La Valse des monstres”, “Rue des cascades”, and “La Phare”).

A versatile musician and music producer. Alessandro’s preference for board instruments was clear when as a child he began to play as a self-taught pianist. He also started composing at a very early age. At 14 y.o. he wrote a cycle of Mazurkas inspired by Chopin.

He deepened aspects of jazz composition and silent-film music, and became a close friend with Eric James, the associate composer of Sir Charles Chaplin, until his death. In 2000, a few minutes before his performance, James put a paper on the grand piano, and in front of the audience wrote: nist of immense talent and will surely make his mark on the musical profession

The six French Suites, BWV 812–817 were written for the clavier (harpsichord or clavichord) by Johann Sebastian Bach between 1722 and 1725. They were later given the name “French” by Bach’s biographer J.N. Forkel, who wrote that “one usually calls them French Suites because they are written in the French manner” – despite the fact that only a few of the movements are in the French style (the courantes of the first and third suites, for example). Bach employed dance movements that are foreign to the French manner, such as the Polonaise of the Sixth suite.

No definitive manuscript of the suites has survived. This is due to the fact that Bach made several copies, all with remarkable differences in regard to which movements are included in each suite, but also because several other manuscript sources from the 1730s and ’40s are in the hand of copyists.

A versatile musician and music producer. Alessandro’s preference for board instruments was clear when as a child he began to play as a self-taught pianist. He also started composing at a very early age. At 14 y.o. he wrote a cycle of Mazurkas inspired by Chopin.

He deepened aspects of jazz composition and silent-film music, and became a close friend with Eric James, the associate composer of Sir Charles Chaplin, until his death. In 2000, a few minutes before his performance, James put a paper on the grand piano, and in front of the audience wrote: nist of immense talent and will surely make his mark on the musical profession

The three Waltzes (Trois Valses), Op. 70, were composed by Frederic Chopin in very different epochs.

The older “valse” is the “third”, formally Op. 70 No. 3, composed in 1829, when Chopin was 19 y.o. Three years later he composed the No. 1 in G-flat major: the simpler and at the same time, probably, the harder to play waltz (for the big jumps of both hands together). Only in 1842 Chopin wrote the second waltz, in F minor, one of his best and more sensitive.

They were all published as a whole only in 1855, 6 years after the composer’s death, by close friend Julian Fontana who also made some adjustments and additions (not all very smart, IMO, especially on Op. 69).