L'album nasce da un lavoro che ho fatto negli ultimi anni sulla lingua italiana e sulla canzone, senza l'ansia di doverlo per forza pubblicare. Nel gennaio 2011 ho capito però che alcune delle canzoni, insieme, avevano un senso molto profondo per me,ed erano legate tra loro con un sottile ma forte filo rosso. Ho deciso di lasciarle libere, dandogli la loro giusta forma, quella di un disco; un racconto fatto di canzoni.

Credo che ogni forma di vera arte debba lasciare nell'uomo la forte sensazione di eternità. Il disco è una raccolta di brani strumentali scritti negli ultimi quattro anni. La forma di ognuna delle tracce non e' mai nata seguendo una struttura prestabilita dalla prassi compositiva – pur se alcune si possono avvicinare a forme come la sonata, il corale, il preludio o la fantasia – ma è stata costruita solo attraverso ciò di cui il brano stesso aveva bisogno. Il mio lavoro parte sempre da elementi che nascono da improvvisazioni al pianoforte, alla chitarra, alla marimba e con la voce; momenti in cui avviene quel miracolo così misterioso della presenza, totale presenza , del completo coinvolgimento in quel che si sta facendo, proprio nel momento in cui lo si fa. E' proprio in questi momenti che ho la forte sensazione di eternità, di non esistere più, di essere come un tramite, un'antenna. Da questi spunti, poi, continuo a improvvisare, elaborare, sviluppare, trasformando così la materia; in un certo senso facendole vivere una storia.

L'album nasce da un lavoro che ho fatto negli ultimi anni sulla lingua italiana e sulla canzone, senza l'ansia di doverlo per forza pubblicare. Nel gennaio 2011 ho capito però che alcune delle canzoni, insieme, avevano un senso molto profondo per me,ed erano legate tra loro con un sottile ma forte filo rosso. Ho deciso di lasciarle libere, dandogli la loro giusta forma, quella di un disco; un racconto fatto di canzoni.

Soundtrack for the film “L'Ultimo Terrestre” (Fandango) directed by Gian Alfonso Pacinotti, competing at Venice Film Festival 2011. The work is the fruit of the creative collaboration between me and Gianni; we shared ideas, intuitions and we worked on it for 3 weeks, just to create the right sounds for the images; some times we help the scenes using sounds like backdrop, and other times we really give a new point of view so that the music really becomes a character. Solo piano pieces (Preludio in E), female choirs (La Rivelazione), electronic beat (La Corsa, Un Mostro) and psychedelic soundscape (Discesa agli inferi).

Music for the stage adaptation of Pinocchio by French playwright Joel Pommeratt, directed and choreographed by Teatro delle Apparizioni. A musical experience that journeys through short preludes for piano that are reminiscent of Shubert Il Gioiello - (The jewel), distant echoes of Bach (La Madrfe - The Mother), and dark overtures a la Kurt Weill (La danza degli assassini - The Dance of the Assassins) and ends with Balokko Funk’s gypsy jazz dance.

Soundtrack for the film Good Morning Aman by Claudio Noce (Venice Film Festival 2009). I wrote the first song "Good Morning Aman" (a kind of dreaming ballade) reading the screenplay; I saw the desert and a lonely man walking slowly, with no rush, heading nowhere, but knowing exactly where to go. It was my first and more powerful contact with the story. My meeting with the character of Aman: a thin, funny Ethiopian boy living a city like Rome without really understanding it. He lives a kind of paradox; he's really cynical, but at the end he's a dreamer. He will truly understand his nature just after the meeting with the "bad" caracter interpreted by Valerio Mastandrea; a sad and retired boxer spending all days at home watching tv. I chose to use two different languages to tell the story from my point of view; songs and concrete\electronic music. The work done with the songs was really exciting for me. Claudio, the director, told me that he wanted some old blues stuff in the soundtrack, so I had the chance to explore languages like the old preaching blues from 30's and 40's, and collaborating with my friend and amazing poet Michael Reynolds and the powerful singer Charlie Cannon (That note don't play, Bony Man). The Album contains lots of bonus track; I love the song "Here we are" and "Good Mornign Aman"; because I really don't know where they came from... It's just magic.

A collection of short preludes for piano, some written for movies, some other for theatrical performances and some just for fun. Even if I wrote them in different periods of time, they all have something in common. Oneiric atmospheres, linguistic experimentation, little melody, brushstrokes of colors, old memories, whispers...the track "Fine" can be the perfect end of every Christian Andersen tale. Let's try...

The title is a clear invitation to close one’s eyes and live the music—let the sound bring the images and the characters of the story to mind. This work is a declaration of intent, a suggestion that listeners free themselves from the slavery imposed by the world of images and reconnect with the other senses—senses that are closer to an inner dimension and to a deeper awareness of reality. Fruit of the research composer Valerio Vigliar has conducted on the relationship between music and space, on the possibility of shaping spaces by experimenting with frequencies and thereby provoking and changing specific emotional states. These pieces were written primarily to accompany productions of sensory theater (where the audience is blindfolded) and similar sonic works.

Experimentation with electronic music, ambient sounds, sampling and filters. From sonic accompaniments to concrete music, from electro beat to distorted percussive loops. Lunar atmospheres or signs from outer space? Simply the results of Valerio Vigliar’s implacable curiosity.

Fruit of a creative collaboration between writer, Michael Reynolds, and composer, Valerio Vigliar, Liù began life as a recording project in 2002. With the subsequent inclusion of a group of gifted musicians and dramaturge Fabrizio Pallara, Liù has been touring as a theatrical-musical-literary performance since 2003. The creative affinity shared by the members of Liù has allowed the group to perform live without sacrificing the delicate tension between words and music evidenced in our studio work. Liù plays with the spectator's attention and perception, transforming the relationship between musician and audience through innovative lighting, set design and seating, exploiting the unique characteristics of each individual concert venue. A long dance through different generes: trip-hop, experimental jazz, spoken words, funk and acustic ballade.