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After the years spent at the Conservatorio di Milano, where I studied, with minor achievements on the piano and a better success with the bassoon, I played for some years in several classical and wind orchestras; then, in 1992, I started the activity of freelance musical engraver. Thanks to some acquaintances of mine and a chance encounter (thanks Giampaolo Novelletto!), I managed to start working since the very beginning for some important firms of Milan: Ricordi, Suvini Zerboni, Carisch. About this, it's important to me to remember Fausto Broussard and Gianni Marinato, who helped me improving my professional skills. Other publishers for whom I worked or still work: Boccacini&Spada, RaiTrade (now RaiCom), Sinfonica jazz, Lattes, Pearson, Curci, Durand, Salabert etc. I worked also for some well-known composers, usually on a continuative way: I engraved the music for Ivan Fedele since, practically, the dawn of times, and pretty much the same for Salvatore Sciarrino and Stefano Gervasoni; my services have often been requested by Giacomo Manzoni, Marco Di Bari, Luca Lombardi, Aldo Clementi. Other authors I worked for (partial list): Ambrosini, Battistelli, Berio, Boccadoro, Bussotti, Casale, Castaldi, Cattaneo, Corghi, De Pablo, Donatoni, Durieux, Francesconi, Globokar, Grisey, Guarnieri, Kopatchinskaja, Magrané Figuera, Mannino, Manoury, Morricone, Nieder, Nono, Odeh-Tamimi, Pousseur, Romitelli, Ronchetti, Stroppa, Tanguy, Troncatti, Vacchi, Wenjing, Zen, ....... Among composers, a place of honour is reserved for Giorgio Gaslini who is always in my heart. Ivan Fedele, in 1999, dedicated "Codex, for chamber orchestra" (ed. Suvini-Zerboni) to me ; Salvatore Sciarrino, in 2021, also dedicated a song from "Una lettera e 6 canti", for voice and 6 musicians (ed. Ricordi). Stefano Gervasoni also, in 2022, dedicated “In nomine PPP, cantata per Pier Paolo Pasolini” (ed. Ricordi) to me. My job is focused on the contemporary music, the music that has been just written; nonetheless I engraved musics of all kind: pop songs, school books, prayer books, guitar music, piano music (almost the complete Muzio Clementi's opera for piano, all Mozart's piano sonatas, a large number of piano pieces by Field, Sgambati, Martucci), critical edition scores of Donizetti, Verdi, and Puccini, Nono. My favourite working tool is certainly SCORE for Dos, by Leland Smith. It is really an old school program, but I'm used to it and my customers seem to appreciate the results very much; with it I'm confident that I will be able to face any kind of "weird" request my client can think off or, at least, the reasonable ones... In fact Score, apart from producing a great looking output for "regular" music, has quite astounding graphical capabilities and it makes even possible to handle different instrumental groups with independent rhythms, just like in this situation. Many of my works realised for Ivan Fedele can be seen in his official channel. Some people have, over the years, expressed appreciation for my work (I did the translation myself, trying to be as faithful as possible). Meroni ... is not unfailing ... Claudio Meroni has been an excellent partner for me for ten years now [it's been a long time], whom I could not renounce today without running the risk of seeing the extreme quality of my computer-copied scores and the orchestral material always clear and punctual compromised. His distinct musicality, his sober and at the same time refined graphic taste, as well as a truly uncommon intelligence of the text make him an irreplaceable production partner. Last but not least, Claudio Meroni has always respected delivery deadlines, relieving me and my publisher of any worries related to this order of problems. I have been working with Claudio Meroni since 1998. Precision and a high level of output, musical competence, fast turnaround times, human and professional quality of relationships: these are the characteristics that have made k361 the ideal and indispensable partner in my work as a composer. Ever since, I must say with great amusement and relief, I started writing scores on the computer, Meroni has been my faithful ally, with his patience, expertise and even wit. I owe him many teachings and also encouragement: I am sure this relationship will bear new fruit, and in time I also hope to win his friendship. Claudio Meroni, who has worked for Casa Ricordi for many years, has a high professional profile: thanks to his long experience in the most diverse repertoires and his constant technological updating, he is able to deal competently with any problem concerning music graphics, and to guarantee excellent results. What makes the difference with Claudio Meroni is not only the quality of his 'craftsmanship' (which in his case is combined with a particular taste for graphics that make him - in the editorial field - a particularly useful and valuable collaborator), but also his particular capacity for analysis, his predisposition to 'enter' into the piece he is copying and to understand it. A quality that allows him - often - to remedy errors and oversights by the composer himself. [...] for example, my copyist - who is also the copyist, I believe, of Ivan [Fedele] - Meroni, has an extraordinary layout talent, a sense of space and of things ... for which today's scores, copied, are first of all very clear and then also beautiful to look at. Salvatore Sciarrino, composer, during an interview on the Biennale Musica di Venezia 2016 |