This album features my most recent compositions, included in the Da Vinci Classics release Nodi quasi di stelle.

The pieces display markedly different stylistic characteristics—particularly in Mythology, where harmonic and formal solutions diverge from the Segovian guitar tradition.

Nevertheless, the stylistic dimension evoked by the album stems from an attempt to enhance popular musical culture by enriching it with new harmonic nuances, revealing its implicit potential.

The spirit of the project—echoing similar efforts by artists such as Alirio Díaz, who reinterpreted Venezuelan and Neapolitan popular music—is to achieve the greatest expressive depth from the most modest starting material. This approach shows how scarcity of elements can ignite creativity and elevate them to an art form.

The work also highlights the subtle boundary between classical and popular idioms, and the versatility of a repertoire built on repetitive structures—precisely those that lend themselves best to reinvention and transformation.

The compositions in this collection are a tribute to Italian theatre through the figures of Carmelo Bene, Vittorio Gassman, and Franco Zeffirelli.

Despite their differing artistic identities, each uniquely explored the musicality of the spoken word: Bene’s meticulous phonetic research, Gassman’s extraordinary vocal technique and poetic expressiveness, and Zeffirelli’s deep connection with opera.

Composed when I was about eighteen, these works reflect an effort to develop an aesthetic language not always strictly tonal, yet still indebted to the great guitar tradition.

Their demanding technical writing bears the influence of a lineage stretching from Agustín Barriosto Alirio Díaz and my teacher Maurizio Colonna.

This album unfolds as a sequence of brief compositional sketches, each exploring distinct melodic and expressive ideas, yet united by a marked inclination toward stylistic cross-pollination.

Across the collection, one senses a fusion of techniques that exploit both percussive bass patterns and legato phrasing with open strings.

The more melodic pieces focus instead on the alternation between open and stopped strings, emphasizing the lyricism of portamenti and vibrato reminiscent of late-Romantic guitar idioms.

InserirThis work comprises two original pieces, The Sea and Like Butterflies, both melodic and airy, each presented in a different ensemble featuring the guitar.

In one case, the guitar-piano duo poses the challenge of balancing two instruments with contrasting dynamics and timbral weight.

In the other, The Sea—the first piece I composed, around age twelve, in memory of my grandmother Giannina—is arranged for guitar and flute, a more traditional combination that highlights the lyrical quality of the main theme.e qui la descrizione

Inserire qui la descThis work spans nearly twenty pages of music and consists of a series of “stylistic transfigurations”of the main theme from the film Il Postino (composed by Bacalov–Endrigo–Del Turco–Margheri).

Each transfiguration adopts a different compositional style, drawing inspiration from great composers and musicians of the past.

The piece, completed when I was around sixteen years old, now sees the light of day for the first time — a youthful exploration of how a single melodic idea can be refracted through multiple aesthetic lenses.rizione

1. M. Colonna – Moments Live in My Memory: Dance

2. G. Fracchia – Secret

3. A. Barrios Mangoré – Las Abejas

4. G. Fracchia – Ianus: The Sea (Live Version)

5. G. Fracchia – Playing: Nugae (Homage to Catullus)

6. M. M. Ponce – Valse (Live Version)

7.  R. Fabbri – Beyond: Notte a Belgrado

8.  M. Colonna – Sincronie:

  I. Introduzione

  II. Preparazione al movimento

  III. Movimenti sincronici

9. V. E. Sojo – Five Pieces from Venezuela: Galeròn

10. A. York – Lullaby

11. M. Colonna – Guernica (Homage to Pablo Picasso)

12. G. Fracchia – Playing: At Night

13. Anonymous – Neapolitan Songs: Michelemmà

14. G. Fracchia – Playing: Life

15. M. Llobet (arr.) – El noi de la mare (Live Version)

16. A. Lauro – Seis por derecho

17. G. Fracchia – Stylistic Transfigurations on “Il Postino” by L. Bacalov

18. M. Colonna – 12 Simple Studies: No. 12

19. A. York – Sunburst

1. A. Lauro – Natalia

2. J. S. Bach – Suite BWV 1006: Prelude

3. J. S. Bach – Suite BWV 1006: Gavotte en rondeau

4. J. S. Bach – Suite BWV 1006: Minuet I

5. J. S. Bach – Suite BWV 1006: Minuet II

6. J. S. Bach – Suite BWV 1006: Gigue

7. L. Brouwer – Tarantos

8. C. Domeniconi – Koyunbaba Op. 19: I. Moderato

9. C. Domeniconi – Koyunbaba Op. 19: II. Mosso

10. C. Domeniconi – Koyunbaba Op. 19: III. Cantabile

11. C. Domeniconi – Koyunbaba Op. 19: IV. Presto

12. A. Mudarra – Fantasia Xrizione

13. G. Fracchia – Bene (Homage to Angelo Gilardino)

14. A. Gilardino – Canto, from Tenebrae Factae Sunt

15. H. Villa-Lobos – Etude No. 7

16. N. Paganini – Andantino variato, from Grand Sonata for Guitar Solo

InserirIn Music to Me, the young guitarist Gregorio Fracchia narrates, through the interpretation of seven original compositions, what can be described as a personal journey of artistic and emotional growth — bridging generations that may seem distant in time.

In this work, Fracchia translates into music iconic figures of the Italian past such as Alberto Sordi, Vittorio Gassman, and Franco Zeffirelli, using a modern guitar language imbued with the charm and delicacy of bygone eras.

Here, time and language intertwine, giving life to a recording project of unique perception — the fruit of deep reflection and meticulous research.

This exploration extends into the sonic realm, where tone colors deliberately depart from conventional modern recording aesthetics to evoke precise temporal dimensions.

A production by L&C / EMA Vinci Records, realized with the contribution of SIAE under the project SILLUMINA – Private Copy for Young Artists and Culture.e qui la descrizione

1. Chaconne, Partita No. 2 in D Minor, BWV 1004

2. Fugue, Violin Sonata No. 1 in G Minor, BWV 1001

3. Prelude, in E Major, BWV 998

4. Fugue, in E Major, BWV 998

5. Bourrée I – Bourrée II, Cello Suite No. 3 in C Major, BWV 1009

6. Allemande, Lute Suite in E Minor, BWV 996

7.  Courante, Cello Suite No. 3 in C Major, BWV 1009

8. Prelude, in C Minor, BWV 999

9. Tempo di Bourrée, Violin Partita No. 1 in B Minor, BWV 1002

10. Gavotte I – II, Cello Suite No. 6 in D Major, BWV 1012

11. Gavotte en Rondeau, Violin Partita No. 3 in E Major, BWV 1006

12. Prelude, The Well-Tempered Clavier, Book I, No. 1 in C Major, BWV 846

A recital dedicated entirely to J. S. Bach’s works, this album brings together some of the composer’s most celebrated pieces in transcriptions for guitar, revealing the instrument’s capacity to convey both the architectural rigor and profound lyricism of Bach’s writing.

1. F. Sor – Introduction and Variations on a Theme by Mozart, Op. 9

2.  E. Saiz de la Maza – Habanera

3.  F. Moreno Torroba – Sonatina

4.  A. Lauro – Seis por derecho

5.  J. Malats – Serenata Española

6. J. Turina – Fandanguillo

7.  D. Scarlatti – Keyboard Sonata, K. 208

8. I. Albéniz – Suite Española No. 1, Op. 47: No. 3, Sevilla (Arr. for Guitar)

9. M. M. Ponce – 5 Canciones mexicanas para guitarra: No. 5, Por ti mi corazón

10. A. Lauro – El Marabino

11. E. Granados – 12 Danzas españolas: No. 5 in E Minor, Andaluza

12–17. Anonymous – Six Renaissance Pieces

12. J. Malats – Serenata Española (Second Version)

13. F. Moreno Torroba – Madroños

14. F. Sor – Introduction and Variations on a Theme by Mozart, Op. 9 (Second Version)

15. A. Lauro – El Totumo de Guarenas

“ΠΩΣ” (Greek for “how”) explores the expressive breadth of the classical guitar across centuries and styles — from the elegance of Sor and Scarlatti to the coloristic vibrancy of Torroba, Lauro, and Albéniz. The program alternates between original works and transcriptions, creating a mosaic of Mediterranean and Latin American idioms through refined interpretation and tone.

This album seeks to revive a particular approach to the guitar’s language — one deeply rooted in popular music, yet reimagined and renewed through the instrument’s technical nuances and a poetic vision inspired by the Segovian tradition.

Most of the works in this recording reflect stylistic elements typical of that school: the late-Romantic vibrato, inner-string melodic phrasing, portamenti, and a phrasing approach guided by a strong sense of musical architecture.

Among the featured composers are Gregorio Fracchia, who also performs on the album and contributes three original compositions; Maurizio Colonna, represented by four pieces including a colorful Capriccio Spagnolo; Carlo Cammarota, with a brilliant Tempo di tarantella evoking the unmistakable Neapolitan atmosphere; and Alirio Díaz, who arranged several celebrated (and occasionally lesser-known) Neapolitan songs, such as Funiculì funiculà and Santa Lucia.