Bruno Sanfilippo is a classically trained musician and composer, graduated from the Galvani Conservatory, Buenos Aires, with a degree in musical composition [piano] His focus alternates between the exploration of minimalist piano concepts and electro-acoustic music. He is obsessed with the search for new and unique qualities in music, the magical and the deep. In dreams, there’s no imagined thing that’s too absurd, too strange, and Bruno Sanfilippo’s music comes from that inexhaustible and shameless source. The artist began playing the piano at a young age, starting with the Pleyel piano from his parent’s home in Buenos Aires. Although Sanfilippo draws inspiration from various genres, in his early years, he was influenced by classical composers such as Erik Satie, Claude Debussy and Maurice Ravel. During the last years, he has made soundtracks for feature films. He has performed live and multimedia events at different stages and festivals of the world. In 1998, Sanfilippo started ad21, a personal platform/label responsable for some of his albums except ‘The Poet’, which was signed with 1631 Recordings & Decca Publishing in 2016, and ‘Unity’ released through the Russian label Dronarivm in 2018.
Sanfilippo’s CDs/Vinyls are available at Databloem, Stashed Goods, Norman Records, Denovali, Discogs, CDBaby, Amazon, p*dis and more…
2000 Suite Patagonia
2004 Indalo (Collab.)
2004 ad libitum
2005 Anthology Essence 91 04
2007 Piano Textures 1
2008 Ambessence piano & drones (Collab.)
2009 Piano Textures 2
2010 CROMO piano & drones (Collab.)
2011 Subliminal Pulse
2011 Bioma (Collab.)
2012 Impromptu EP
2012 Piano Texture found EP
2012 Piano Textures 3 and CD Box Set
2015 Inside Life
2015 Upon Contact Reworked
2016 The Poet
2016 Piano Textures 4
2017 Lost & Found
2018 DOLL [Single]
2018 UNITY ~ 16th February
Drifting, Almost Falling Blog. wrote:
“In the last decade Modern Classical has soared in popularity for both releases and artists coming through the genre. Credit can go to the likes of Frahm, Arnalds, Richter, Johannsson and labels like Erased Tapes and 130701 in helping popularize the music. You can add Argentinian Bruno Sanfilippo to the list.”
“Minimalist and modern classical piano music is a crowded genre nowadays, it can be hard to see the wood for the trees. But for his restrained but emotionally engaging compositions, his perfect sound quality and combining the sound of the piano with more experimental electro-acoustics, Bruno Sanfilippo can stand the comparison with fellow contemporary classical composers like Max Richter, Jóhann Jóhannsson and Harold Budd” AmbientBlog
About Piano Textures. Headphone Commute
… Simple and elegant, mesmerizing and haunting. I absolutely love turning up the volume, and letting
every hypnotic and melancholic note weep gently through the night. For the lovers of Max Richter, Eluvium, Rafael Anton Irisarri,
and Zbigniew Preisner. I highly recommended this gem!
… Had a listener’s only exposure to Bruno Sanfilippo come about through hearing his recent Hypnos recording Urbs, said listener would have identified him as an exceptionally refined sound-sculptor working in the electro-acoustic ambient field. But the classically trained Sanfilippo also issues minimalist piano recordings, of which Piano Textures 3 is a particularly impressive example. Textura.org
… Sanfilippo’s talent and mastery of the genre are on clear display with this release and I have no doubt that I will have to find room in my CD player for another one of his releases that I’ll be playing all year long. “Piano Textures 2” is a stunning collection of music that I whole heartedly recommend to existing fans of Sanfilippo’s work and to those who are looking for carefully crafted organic ambience.
Another great release from one of my favorite artists! Ping Things
“Sometimes they ask me if I am a piano player who ventures into electronic music, or an electronic music lover who ventures into the piano. Motivated for this question, I will tell a few brief stories: An old ‘Playel’ upright piano was waiting for me at home in San Isidro, in the outskirts of Buenos Aires by the time I was born. During my childhood years I was never far from it, in fact it was my first and favourite toy. Until I unfortunately lost the tip of one finger from my left hand when I was a teenager. This was an absurd domestic accident playing with a door, and as a consequence, I was left with a trauma and I’ve stopped playing piano for several years, being interested for the first time in the synthesizer knob.
However that ring finger, even a little shorter than the rest, did not lose its sensitivity, so later I got close to the piano again by studying piano and harmony.
My teacher use to tell me that I should not be worried, since Aleksandr Skriabin had his fingers short, and he still used to play the piano wonderfully… Anyway I used to avoid using that finger in my improvisations, but when I had to read and play music in the keys, specially Bach, I could not avoid it. Fortunately nowadays, I can use that finger as any other.
Years later, when I finished my studies at the Conservatory, in 1988, I felt frustrated that I couldn’t buy a better piano to keep evolving. The old piano that saw me born, the one which hammers I used to put tacks on, it no longer showed up as great I would play. Finally in early ‘90s I could get a decent piano, in which I used to compose piano pieces, music for small groups such as trios, string duets and organ music. Recordings that I still keep in cassettes. At the same time I started to study synthesizer programming and samplers, music for films, theatre, ballet and media content in different institutes in Buenos Aires.
After that I started releasing on CD my firsts electronic-acoustic based albums; ‘Sons of the Light’ en 1991, ‘The New Kingdom’ 1995, and ‘Solemnis’ 1997.
Those works are discontinued by own choice because later I considered it as sketches.
On year 2000, when I finished composing ‘Suite Patagonia’, and just before the financial and social crisis in Argentina, I had to emigrate to Spain along with my wife Ximena. We arrived in Barcelona alone and almost with no money, in fact, the firsts years were hard, but we were excited about building a new life here. Later I got a Korg TR-rack synthesizer and a Lexicon processor which one I recorded Visualia (2003), Ad Libitum (2004), InTRO (2006) with, and later with a Korg Radias I recorded Auralspace (2009), Subliminal Pulse (2011), Urbs (2012) and other albums based in electronic sound and field recordings which some were released by american labels.
It’s been only a few years since I finally could get a Grand Piano, which is placed at the lower part of the house, and, this time, I hope we never be away from each other.”