BIOGRAPHY

Francesco Antonioni is a composer who pursues creative freedom beyond aesthetic boundaries.

 

Described by The Guardian as ”a composer who knows exactly what he wants and how to achieve it,“ Francesco has built a distinctive voice across orchestral, vocal, chamber, and electronic music.

 

He regularly collaborates with leading orchestras, ensembles, opera houses, and dance companies on commissions, performances, and cross-disciplinary projects. Antonioni has worked with some of the world's most distinguished ensembles, including Accademia Nazionale di Santa Cecilia, Ensemble Modern, Birmingham Contemporary Music Group, and Albany Symphony Orchestra, alongside conductors and soloists such as Antonio Pappano, George Benjamin, Vladimir Ashkenazy, David Alan Miller, Sian Edwards, Evelyn Glennie, Yuri Bashmet, Daniele Rustioni, Francesco Lanzillotta, and Beatrice Rana.

 

Francesco's music encompasses concert works for orchestra, chamber ensembles, theatrical works, and sound installation projects that explore new sonic territories, maintaining artistic integrity without allegiance to any particular orthodoxy. His work is characterised by its rhythmic vitality and structural clarity—qualities that have made him a natural collaborator for choreographers and dance companies.

 

Recent projects include commissions from Wigmore Hall and Bielefeld Opera Theatre. His music has been performed across major concert halls and theatres internationally, featured in broadcasts, and presented in contexts ranging from traditional concert settings to experimental collaborations with contemporary dance.

 

Beyond composition, Francesco's engagement with music and culture extends to his work as a radio and television presenter.

Definito dal Guardian «Un compositore che sa esattamente cosa fare e come realizzare le proprie idee», Francesco Antonioni (n. 1971) compone musica per orchestra, opere teatrali, balletti, musica da camera, brani solistici ed elettronici.

 

A proprio agio in molti generi accanto alla musica classica in cui affondano le radici, le composizioni di Francesco Antonioni si situano consapevolmente sul punto di incontro di diversi linguaggi, dei quali ricercano affinità e possibilità di integrazione. «Il pensiero che questa musica trasmette è una conquistata libertà da qualunque dogma avanguardistico, ma anche antiavanguardistico» ha scritto Dino Villatico (Classic voice).

 

Grazie all’energia ritmica che spesso caratterizza la sua musica, Francesco Antonioni ha al suo attivo diverse collaborazioni con coreografi e compagnie di danza. Ha ricevuto commissioni dalla Wigmore Hall, Accademia Nazionale di Santa Cecilia, Albany Symphony Orchestra (USA), Ensemble Modern, Birmingham Contemporary Music Group, Sentieri Selvaggi, MiTo Settembre Musica, Biennale di Venezia (2001, 2010, 2016), per brani che sono stati eseguiti, tra gli altri, da Antonio Pappano, George Benjamin, Evelyn Glennie, Yuri Bashmet e Beatrice Rana.

 

Brilliant Classics ha recentemente pubblicato My River, un disco monografico in cui Francesco Antonioni è impegnato anche come direttore, accanto a Vladimir Ashkenazy.

“The vision behind this music is one of hard-won freedom from all dogma—whether avant-garde or anti-avant-garde.”

 

Dino Villatico, Classic Voice

Fri
01
Aug

Past Event 3

Test Desc

Fri
29
Aug

Past Event 2

Test Desc

Sun
31
Aug

Past Event 1

Test Desc

Wed
01
Oct

Test Event 1

Test Location

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Test Performer
Wed
01
Oct

Test Event 2

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Test Performer
Fri
31
Oct

Test Event 3

Test Location

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Sun
09
Nov

As the memory of it

Roma. Auditorium Parco della Musica

Blow-Up Percussion ensemble

Performance
Sun
23
Nov

Driften. Two Studies

Roma. Auditorium Parco della Musica

Ensemble Modern

World Premiere
Thu
27
Nov

Musica e scrittura

Roma. Mattatoio La Pelanda

Francesco Antonioni and Mauro Covacich on music and writing

 

Talk
Thu
04
Dec

Movimento di quartetto (after Mahler and Schnittke)

Roma. Teatro Argentina

Quartetto Werther

World Premiere
Sun
14
Dec

Gli occhi di Giulia

L'Aquila. Auditorium del parco

Francesca Dego, violin

World Premiere
As the memory of it opens the Nuova Consonanza festival 2025

NEWS

As the memory of it opens the Nuova Consonanza festival 2025

On Sunday 9th, the incredible Blow-Up Percussion ensemble kicks off the Nuova Consonanza festival with my piece As the memory of it, for four percussionists.

...Metal sounds suspended in time, resonating in overlapping waves, their vibrations held as if in parentheses. An imaginary carillon, each chime a pinpoint of light in the texture, unfolding like refracted color. Wooden bars with their dry, tactile presence, evoking the act of inscription itself, as though someone were etching marks and words onto the surface. Writing what? Perhaps the half-remembered fragments that bells themselves awaken. For bells do more than sound—they summon. They retrieve what we thought was lost, or they seize our attention with unexpected urgency. Metal, glass, bells, calls, toys, games, structures, memory…

With the words of the poet Charles Wright:

Nothing’s so beautiful as the memory of it
Gathering light as glass does
As glass does when the sundown is on it
and darkness is still a thousand miles away.

See you there!

🗓 November 9 @ 9PM
📍 Roma, Auditorium Parco della Musica

Domenica 9 Novembre alle 21 si apre il festival di Nuova Consonanza con i Blow-up percussion.

In programma, As the memory of it, per quattro percussionisti.

...Suoni di vetro sospesi nel tempo, campanelle di plastica, un carillon immaginario. In inglese, rings a bell significa letteralmente suona una campana, ma anche, e soprattutto: suona familiare, mi fa tornare in mente qualcosa. Metallo, vetro, campane, richiami (come nelle campanelle degli hotel), giochi, strutture, memoria…

Con le parole del poeta Charles Wright:

Nothing’s so beautiful as the memory of it
Gathering light as glass does
As glass does when the sundown is on it
   and darkness is still a thousand miles away.

Nella traduzione di Moira Egan e Damiano Abeni:

Niente è bello come il ricordo che se ne ha
che raduna la luce come fa il vetro,
come fa il vetro quando il tramonto vi si posa
e il buio è ancora mille miglia lontano

 

🗓 9 Novembre 20259 @ 9PM
📍 Roma, Auditorium Parco della Musica

"Whether sensuous or assertive, the string writing is wonderfully assured. It's a piece that exudes the confidence of a composer who knows exactly what he wants and how to achieve it."

 

Andrew Clements, The Guardian