1991 Sons of the Light
1995 The New Kingdom
2000 Suite Patagonia
2004 ad libitum
2005 Anthology Essence 91 04
2007 Piano Textures 1
2009 Piano Textures 2
2011 Subliminal Pulse
2012 Impromptu EP
2012 Piano Textures 3
2015 Inside Life
2015 Upon Contact Reworked
2016 The Poet
2016 Piano Textures 4
2017 Lost & Found
2018 DOLL [Single]
2018 InTRO remastered & exp
2019 Solemnis (Remastered)
«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 Nils Frahm, Ólafur Arnalds, Max Richter, Jóhann Jóhannsson and labels like Erased Tapes and 130701 in helping popularize the music. You can add Argentinian Bruno Sanfilippo to the list» Drifting, Almost Falling
“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.
… 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, Alluvium, Rafael Anton Irisarri, and Zbigniew Preisner. I highly recommended this gem! Headphone Commute
… Had a listener’s only exposure to Bruno Sanfilippo come about through hearing his 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 Series is an impressive example. Textura.org
«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 ‘Pleyel’ upright piano was waiting for me at home in 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, 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 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 and string duets. Recordings that I still keep in tapes. 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 works; ‘Sons of the Light’ in 1991, ‘The New Kingdom’ 1995. Those are discontinued by my 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; 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 (Onix II Studio), and, this time, I hope we never be away from each other.»