``I believe this openness in the aesthetic of Paolo Cavallone is truly his new, not to say revolutionary, compositional/musical imprint within a post avant-garde standardization that occurred in the years in which he started working, and in which he still continues to operate with great merit. I believe that getting rid of the stnadardization, of this parameter, showing instead that each parameter is created by and fruitful of other parameters... this is the extraordinary merit as well as the great perspective of Paolo Cavallone's aesthetic. I would say that the openness to chich Paolo leads us, hte openness of sense, the openness of willingness, is not only a compositional message, but also and ethical meassage, not to call it political. The dimension of this musical politic, of this aesthetic and musical ethic, is necessarily an internaional dimension...``

“…Hóros is an extraordinary piece of music…: it has echoes and memories of Chopin. This concert is dedicated to me… and I am very grateful…”

“…a world premiere (Paolo Cavallone – Hóros)… written this year for Fabbriciani and the Stroma ensemble… This work was practically a flute concerto… we actually heard a recording of the Chopin (Prelude n. 4), played in the darkness immediately after the reading of a poem by Cavallone… From the darkness of this extremely theatrical opening came light and the sounds of instruments being activated by breath and bow, and developing a rich spectrum of colour and texture. Confrontations and re-inventings followed, the solo flute playing Mercutio to the ensemble’s Romeo, leading and teasing, light-fingeredly suggestive and gently mocking, the music opening and narrowing spaces between lines and timbres… Over the last few pages the composer took us to different realms, the ensemble “reinventing” the ambient space of the opening, and making peace with the soloist…”

“… The pieces included in the CD Confini represent authentic jewels of contemporary chamber music…”

“…in Confini, the various configurations of the musical gesture form panoramas which stimulates both the ear and the visual perception…”

“Polimorfie is a gem…”

“In the 20th century, the history of making music… including both traditional composition and a musical thought we could call “intrasonic:” not only – and sometimes not anymore – composing the sounds, but composing the sound, in its physical internal structures and in its projection in time… With the new generations of composers, it seems that… composing sound and composing sounds place themselves in a creative space that is possible to freely explore… The String quartet “Contrasto” (1999) is a central piece in his production… It features the possibility of crossing different phases of composition, in which the sound can be composed in its inner complexity, or rather – as Giacinto Scelsi defined it – “spherical,” digging inside sound, timbre and dynamic, in its micro-interval, in its spatial and temporal projections. Then it is possible to compose the sounds, with thematic, cellular, and “figural” relationships, … the least interval, the half-tone, one of the border – in the traditional system – between the sound like itself and the sound other than itself, can be the “germinal gesture” of other intervals, the texture or rather of the entire form. ‘We project the metaphor of a course to its organization…’ The author is working on an ample piece for orchestra… the title, “Porte” `{`Italian for “doors”`}` is again expressive of a “crossing poetic”… ‘The various points of view, from different angles – the necessary and abstract doors – of the unique inner and musical gesture’…”