After releasing my “Transitions Trilogy Project” back at the end of 2019 and during the first months of 2020, I really felt the need to stop for a while, to better make up my mind on what to do next.

So I started browsing my hard drive, to see if I had some music already recorded there and surprisingly enough, I found several songs sitting there,

After releasing my “Transitions Trilogy Project” back at the end of 2019 and during the first months of 2020, I really felt the need to stop for a while, to better make up my mind on what to do next.

So I started browsing my hard drive, to see if I had some music already recorded there and surprisingly enough, I found several songs sitting there, waiting to be released.

The music was clearly divided in two different categories, one including piano solo music and the other more cinematic acts, with piano playing together with strings and electronics in the mood of my previous “Secret Book” album I released back in 2017.

It was like these compositions were perfectly representing what I have been doing in the recent years, so I thought it would have been nice to include them as a whole in one single album, with two different souls.

It was important, then, to find the right way to express this concept, by using a proper title for this work: a single word, with two identifiable parts which, if separated, kept maintaining a unique meaning, but if melted together suddenly they found another significance.

When the word “Lifeblood” came to my mind, I immediately thought it was perfect: “Life” and “Blood” have their own meaning, but when used as one single word, they acquire another sense.

“Life” represents the first part of this work: a suite of six intimate piano solo songs, composed between 2019 and 2020. Some of them were composed while touring: the opening track, “Solitude”, is actually an improvisation which found its final form while touring in Utrecht, in the Netherlands, while “White Forest” was inspired by the beauty of the Russian city Kazan and all its surroundings.

All the music included in “Life”, was originally composed and recorded in my home studio, on my upright felted piano, but I wanted to record the final version of these tracks on a grand piano, as I usually do.
So I decided to felt once more the grand piano as I did in my Transitions project: the powerful sound of the Grand Piano suddenly become soft, intimate and fragile and, to me, it’s a joy to hear.

I really hope you’ll take your time to listen to this music: use a pair of good headphones, if you wish, so you can be fully immerse in the healing sound of my piano and, hopefully, you can find some relief during the hard times we’re all living.