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D’ANCE

for bajan or concert accordion
(on comission from the Festival of Castelfidardo – to become the 'obbligatory piece' of the sister-competition)
degree of difficulty : medium
duration: 9’ approx.
year of composition: 1996
I performance.: Festival Internaz. di Castelfidardo, october 1996
work property of the author
published in this site in 'Musics in PDF format '
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)
is available a CD recording


For years, the accordion has been climbing unstoppably towards the world of serious, art music. This upwards tendency is visible above all outside of Italy, and especially in the countries of eastern Europe. Noted composers (Berio, Donatoni, Gubajdulina, Kagel and others) have written compositions for this 'folk' instrument. The City Council of Castelfidardo, notoriously linked with the destiny of this instrument, has always promoted the accordion. In this context, Davide Anzaghi is often invited to preside over the judging panel of the Concorso Internazionale di Composizione (the International Composition Competition) which is organised bi-annually by the City Council of Castelfidardo.

This piece was written – on comission from the Festival of Castelfidardo – to become the 'obbligatory piece' of the sister-competition, the Concorso Internazionale di Esecuzione, (the International Performance Competition) in the professional category.

Conceived in two movements, not separated one from the other by a pause (the first is marked “lento e libero” and the second “più mosso, dolce e incantatorio (incantatorio = enchanting)) the form of the piece is organised within the duration prescribed by the committee. The first movement is suspended in a dream-like aura; it is rarefied and laced with pauses. The second contrasts the first by using the formal strategy of the continuum. The agile initial figurations (quadruplets of semi-quavers) undergo a progressive and measured acceleration as the movement goes through its full development. By the conclusion of the movement, the accelarative incrementation pushes the initial figurations to become groups of nine demi-semi-quavers within the crotchet.

The Series used in this piece is that which is dear to the author, formed of a sequence of 11 intervals, each of which increases by one semitone with respect to the preceding one. In this way a range of intervals is created that goes from the minor 2nd (D – E flat) tothe major 7th (B – C in descent).