Works

FABRIZIO DE ROSSI RE graduated in composition (with Mauro Bortolotti) and in instrumentation for band (with Raffaello Tega) at the Conservatory of S. Cecilia in Rome. He studied further with Salvatore Sciarrino, Sylvano Bussotti (Scuola di Fiesole – Firenze) and Luciano Berio, and pursued a non-academic education in jazz piano playing with Umberto Cesari.
He currently teaches Element of Composition for music educators at the Conservatory of Fermo (Marche). He also teaches Improvisation and Composition at the Scuola di Specializzazione (SSIS, Universities of Lazio).
His compositions have been recorded and published by Adda Records, Agenda, BMG Ricordi, Contempo, CNI, Edipan, Fonit Cetra, I Move, QQD, RAI Trade, RCA, Semar, Sonzogno.
The musical output of Fabrizio De Rossi Re ranges from musical theatre to orchestral and chamber music, and to song-like performances with the author at the piano accompanied by a small group of jazz musicians.
His theatrical works includes works for the stage Biancaneve (Snow white), ovvero il perfido candore (chamber opera, libretto by the composer), 1993; Nocturnàlia (dance music), 1993; Paracelso, dal trattato delle Ninfe, Silfi, Pigmei, Salamandre ed altri esseri (text by the composer, after Paracelsus), 1994; L’ombra dentro la pietra (written on commission Roma Europa Festival & Teatro Hebbel Berlin), 1996; La comunione dei beni (texts by Edoardo Albinati) for ensemble, 1996-97; Cantopinocchio, la fatina che canta (texts by Adriano Vianello – Teatro Rossini of Pesaro), 1997, Cesare Lombroso o il corpo come principio morale (azione musicale, libretto by Adriano Vianello), for ensemble and electronics, 2000; Musica senza Cuore Azione musicale grottesca (texts by F. Angeli after Libro Cuore by Edmondo De Amicis), 2003 ; Mysterium Cosmographicum (texts by F.Angeli after Johannes Kepler), 2004; Alatiel (texts by Luis Gabriel Santiago after Boccaccio) Melologo erotico-amoroso – written on commission Centro Pietà dei Turchini of Napoli, 2008; Anna, animali e bestie (azione musicale texts by Luis Gabriel Santiago with Anna Proclemer, Teatro Caio Melisso of Spoleto, 2009) Terror vocis (written on commission from Festival Contemporanea Auditorium “Musica per Roma” 2010) King Kong, amore mio ( texts by Luis Gabriel Santiago) written on commission Opera Incanto, 2011.For the radio: Terranera, un viaggetto nel proto-Lazio (radiofilm, text by Valerio Magrelli), 3 soloists, male speaker, flute, recorder, piano and tape, 1994; Orti di guerra (text by Edoardo Albinati), tape, 1995; Diario Giapponese, male voice, percussion and tape, 1996; Tre per una, per non dire l’Ernani (text by Vittorio Sermonti), soprano, speaker, clarinet and piano, 2001; Il quadro di Buzzati (text by Luis Gabriel Santiago), 2006.Among the symphonic works: Aria di strépito for tenor sax and orchestra (written on commission X°World Saxophone Congress), Teatro Rossini, Pesaro 1992; Terra Tremuit for soli, coro and orchestra (commission Giubileo 2000); An Imaginary portrait, for early instruments and orchestra (written on commission from the Accademia Nazionale di Santa Cecilia, 2000-2001); Slow Dance, (danzetta lenta e molle delle piccole fate – commemorating Giuseppe Verdi’s death Centenary) for accordion and orchestra (Orchestra Toscanini di Parma -Bologna 2001); Rappresentatione for early instruments, soli, chor and orchestra (written on commission dell’Accademia Nazionale di Santa Cecilia of Rome, 2001); Valse for orchestra (written on commission of Orchestra Sinfonica RAI of Torino 2006); Songs and memories (Caruso, cielo, terra, sole e mare con luna crescente - 2008) written on commission 28th ISME Society for Music Education World Conference Bologna 2008); Terror vocis ( canti popolari agitati e disperati) written on commission Fondazione Musica per Roma – Auditorium Roma 2009.
A recent work of chamber music, Ricercare for harpsichord and strings (2004), has been performed by the Berliner Philharmoniker (Atheneum) string quartet.
De Rossi Re’s music is open to various and differentiated influences and experiences, ranging from jazz, to popular music, to early music, and to experimentalism. The result is a sort of musical theatre with a deep sense of (postmodernistic) irony.
His ability to assimilate various musical techniques and to carefully evaluate the expressive potentials inherent in all musical styles, from popular music to avantgarde, resulted in a highly original musical language, capable of a difficult syntesis between experimentation and communication.