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He obtained his Diploma in Composition at the Venice conservatory “B.Marcello” in 1991 under the guide of M° Viezzer. In 1988 he wins a scholarship grant, offered by SIAE ( the Italian Society of Editors and Authors). His first important performance is “Victimae Paschali Laudes” for organ, executed at Paris’Notre Dame in 1989. In 1990, the string quartet “ La preghiera di Tobi” was performed during the programming of the Venetian theatre “La Fenice”.

In 1993 he realized with the “San Marco Venice orchestra” “Ez 37” for sax soprano and orchestra (S.Zalambani- sax solist; R.Salvalajo- director). The following year, he realized with the collaboration of the filarmonica orchestra of Bacau, “Magnificat” for soprano, sax and orchestra (S.Proctor- soprano; S.Zalambani- sax).

In 1994, he was commissioned the orchestration of the “Cantico delle Creature”(on occasion of the International award for the Environment organized by ENEL and filmed by Rai television, performed in Assisi on 22^nd October 1994 ( Chorus and Polyphonic –“B.Marcello” of Venice; R-Beretta – director). This work was repeated in Rome (Aula nervi) in the presence of his Holy Pope ( 15^th December 1995).

In 1998, the Cultural centre Kolbe of Mestre orders him “Massimiliani Kolbe, la Gloria nascosta” (L.Ruffato- booklet) oratorio in two parts for narrating voices, chorus and orchestra).

This work was first performed in Auschwitz (Poland) on 13^th august 2001 and it was repeated in Italy on 13^th October 2001 (Saint Lawrence Cathedral- Mestre) with the polyphonic and ensemble “B:Marcello” (S.Perulli- director). It has again been perfored at Saints’ Basilica (Padova - October 2002) and at Verdi Theatre (Padova - january 2004) under the guide of the same composer.

Regarding this work, this is how M° G.Gatti expressed himself in the critic inserted in the libretto: “ This oratorio on the martyrdom of Auschwitz, has many reasons to surprise. Firstly, what strikes is the challenge to want to face a declaredly religious theme in a world, even musical, where religion has not the importance it once had. The will to overcome any devotional and apolegetic assumption and any invention to comfort is made real in a radical way by the music. The music imposes itself immediately because it adopts in a decisive way, a language of absolute atonalism, an unusual instrumental blend, irregular and out of position rhythm and an impervious vocality without the minimum grant to easiness. Giving it a closer exam it is possible to better realize the characteristics and merits of this work”

Next to these important compositions much time has been dedicated to vocal and chamber music. Among these he has obtained particular satisfaction with a nine piece collection “Ad Hoc” addressed to the homonymous ensemble he founded.

In the cd Booklet made from this work, M° P.Conte comments: “ His musical studies, rigid and traditional, his first compositive experiences, researched and intellectual, are here transformed and projected in a  new dimension. The meaning of the title – a latin expression used to suspend the divagation and to bring the discussion to its original problem- infact implies a vivid reflection on life, on the need to rediscover the profound meaning of existence, on the necessity to come again in possess of values too often forgotten or passively accepted.

The road to take, already indicated in the oratorio “La Gloria nascosta” passes through the value of communication.

Learning from his teacher (M° Mansueto VIEZZER), at the Venice Conservatory, his musical formation was centred on radical and rigorous studies about counterpoint, fugue and orchestration. Fascinated by the new musical languages and the instrumental experimentations that characterise the second part of the 20^th century, he attended faithfully concerts consecrated in the contemporary music more radical.

During his studies and the years after, when his music was gradually proposed, even if a lot of tensions existed concerning the artistic languages, searching a personal and accessible writing seamed to be more and more essential. This is easily understandable seeing the clear considerations of P. Boulez. According to him, the thought of the contemporary composer, each time it needs to be expressed, creates the objects required and the structure used for their organisation. The classical “tonal” thought is based on a universe defined by gravitation and attraction. The “seriel” contemporary thought is based on a universe in a continual expansion. Then, the contemporary composer must create all things: the first level (harmonic and melodic system) and the second level (synthesis) of the musical work. The listener, having no possibility, consciously or not, to resort to a known world structured with stability and uniformity, has to join the world created by the composer without any mediation. But there is a really big probability that the music follows its own path, the listener not following it anymore. Consequently, he can’t recognise the music but only hears mixed sounds without any signification.

Knowing all these considerations, the composer can do an esthetical choice to guarantee a language linked to the human nature, with harmonic and rhythmic gravitation points having a clear formal structure: the work, much more harder, is to find a complete and exhaustive innovative synthesis as simple as possible.

Due to the observations done by the greatest 20^th century composer, Olivier Maessian who searched purity in the language of Nature, whom his work was linked without any doubt in vertical and linear dimensions, we confirm that this language always exists in humanity. We can also assume that the same natural linguistic “interjections” are found in different ethnic cultures. They are technically identical and have the same social and emotional role.

The relation composer to public, in other words the social signification of the work, lead to the intermediate problem, the question concerning the executants. In fact, the interpreter lived for years in an unreal situation. Being prepared for a long time by tonal executive technical studies, he was confronted with a completely different aesthetic. Most of the time, he gave up studying the new works, limited in this case to propose again and again a sure and confirmed index, letting no possibility of evolution at him, at his audience and at the music itself.

Otherwise the composer, main victim of the break between the author and the interpreter, appealed by all technological innovations, successively abandoned the executant to use more and more sound resources proposed by electronics and informatics systems. Electronic music, born and developed after the fifties, attracted a fool of composers (K. Stockhausen, H. Pousseur, K. Hambraeus, G. Klebe). It offered the possibility to occur directly on the acoustic subject, the interpreter being not essential anymore and the possibility to liberate him from the instrumental constraints being suppressed. These constraints contain a tempered system that allows moving toward the discovery of a sounds world in theory unlimited. Create a group of musicians being able to set up a common creative connection in which composer and interpreter go in the same direction seemed necessary. The composer participates with the interpreter to the realisation of the work revealing his own objectives in a most elaborated way than a simple score. The executants, thanks to their preparation, supply the most modern instrumental competences to the composer. The “Ad Hoc” group was born (thanks to the precious collaboration of the pianist G. Sfriso) from this requirement and contains twelve executants (3 wind instruments: flute in C and G, clarinet in B flat, or bass or saxophone, bassoon and double bassoon, 3 keyboards: piano, harpsichord organ or electronic keyboard, 1 percussion and a string quintet). G. Pauletta has used this association of instruments to record recently the works of string and vocal music.

Three others composers (F. Perocco, F. Costanza and F. Pavan) form with GianAndrea Pauletta the “Teclas” group characterised by the utilisation of keyboard instruments(organ, piano, harpsichord, and electronic instruments) to interpret contemporary works.

They have recorded on CD their own works and these of Andriessen, Byrne and Feldmann.

In 2005 you/he/she has won the international Contest of composition "Rocco Rodio" with "Rocket" for organ, published from the house edititrice Arspublica (www.arspublica.it). Finalist to the Contest of composition "R.Toscano" (2005) and of the 4FFF Festival of the Cinema (section "Rimusicazioni) of Bolzano (2006) with the sonorous column for the film "Joan the Women" (regal of C. De Thousand-1917). "