{"id":490,"date":"2026-07-10T12:43:27","date_gmt":"2026-07-10T12:43:27","guid":{"rendered":"https:\/\/righimusic.com\/?st-import=d0ff8aac267098373fb2c5a5cac3855e"},"modified":"2026-08-06T13:08:16","modified_gmt":"2026-08-06T13:08:16","slug":"home","status":"publish","type":"page","link":"https:\/\/righimusic.com\/en\/","title":{"rendered":"Marco Elia Righi"},"content":{"rendered":"
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Marco Elia Righi<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Horn Player - Composer<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In 2025, his piece for harp and guitar \"Finissimi sistri d'argento\" won 1st Prize in the composition category at the IX Giuseppe Alberghini Competition (Bologna).<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Biography<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"Best Graduate of the Conservatory of Reggio Emilia (Academic Year 2021\/2022)\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Since 2018, his works and arrangements have been commissioned and performed in Italy and abroad by ensembles and institutions such as:<\/p>

L\u2019Ora della Musica, the Fondazione Nazionale della Danza (in collaboration with Fotografia Europea), Icarus vs Muzak, the Placard Wind Quintet, FORM (Marche Regional Orchestra), Sinfonietta R\u012bga, and the Wunderkammer Orchestra.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Discography<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Most Representative Works<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Listen to a selection of my best compositions \u2013 a window into my eclectic musical vision.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Foresta di sogni<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The theme of the journey has always accompanied my music, and it plays a central role in Foresta di sogni<\/i> (for large orchestra). The piece is freely inspired by Charles Baudelaire's sonnet Correspondances, exploring the concept of synesthesia (the ability to weave together the threads of our senses) within a musical context. Through synesthetic sensations, Foresta di sogni evokes a journey into my inner world. The exploration of the unconscious mind unfolds through scene changes that feel at times sudden, yet always interconnected and organic. \nIt is said that when we listen to a piece of music, it is the music that changes, whereas when we look at a painting, it is we who change. The listening experience of Foresta aims to unite both perspectives. It is my hope that, after being immersed in this short piece, a part of you emerges renewed.<\/p> <\/div>\n\n \n

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Segni<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Few elements of the modern soundscape have remained unchanged, or nearly so, over the last fifteen centuries. One of these is certainly the sound of bells, which (at least in Europe) still marks the passage of time in both urban and rural contexts. Discovering that two families in my family tree were bell ringers\u2014a profession passed down from father to son and considered equivalent to that of \"musici\" (musicians)\u2014led me to seek the basis for my composition in the repertoire of bell-ringing typical of my city, Reggio Emilia. The musical source material for the piece is based on several melodies and bell-ringing patterns collected by the Reggio Emilia composer Guglielmo Mattioli just over a century ago, in 1922, and also on spectrographic analysis of the bell concert of the Basilica della Ghiara in Reggio. The purpose of my piece is not to imitate the sound of bells\u2014perhaps among the most inimitable, for the richness and uniqueness of their timbre\u2014but to evoke what this sound has signified over the centuries: births, deaths, marriages, invasions, epidemics, victories... The passage, recounted in sounds, of History in the stories and lives of ordinary people. Lives held together by \"signs\" (Segni)\u2014the ringing of bells at Mass and solemn celebrations\u2014even across the centuries.<\/p> <\/div>\n\n \n

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Canti di cavalieri<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Canti di cavalieri (Songs of Knights) is a suite of seven miniatures from the folk repertoire. It was first composed in 2024 in a version for solo piano. I first came in contact with the folksongs in this collection thanks to the extraordinary\netnomusicological research of Marcello Conati, in his book Canti popolari della Val d\u2019Enza e della Val Cedra (Folksongs of Val d\u2019Enza and Val Cedra). The two valleys are a fascinating land comprised in the mountain region of the provinces of Reggio Emilia an Parma, a territory that has been known for centuries as the \u201cValley of Knights\u201d. I feel a stong connection with the songs of this land because my family tree extends largely in the provinces of Reggio Emilia and Parma, even though not specifically in the Valley of Knights.\nMany times, during the numerous rewrites of the piece, I\u2019ve asked myself whether my ancestors knew ans sang the songs in this collection. Even if at the moment I can\u2019t know for certain, I feel a sort of visceral connection with some of these songs at an energetic, almost \u201cgenetic\u201d level - almost as they have always been part of my life, even if I have known them only for the last couple of years.<\/p> <\/div>\n\n \n

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Concerto per Corno e Orchestra in D Major, KV412: II. Andante<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Wolfgang Amadeus Mozart\u2019s concerto K412 is universally recognized as one of the cornerstones of horn repertoire. Although the concerto is often listed in concert programs as \u201cNo. 1,\u201d most likely the date of composition dates back to the last year of Mozart\u2019s life (1791), making it in fact his last work for horn and orchestra. Only a few fragments remain of the manuscript, left unfinished by Mozart, and completed by his favorite pupil, Franz-Xaver S\u00fcssmayr. While in the first movement (Allegro) S\u00fcssmayr\u2019s interpolations concern only the orchestral fillings of the woodwinds, in the rondo they are much more pronounced, de facto constituting a reworking that deviates\ngreatly from the original. This edition aims to return to the performer a complete\nversion of the concerto, preserving the first movement from the original manuscripts, adding an andante written in Mozart\u2019s style and playable on the natural horn, and reconstructing the original version of the rondo.<\/p> <\/div>\n\n \n

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Photo Gallery<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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