Luca Piovesan


Luca Piovesan is a 33 years old accordionist based in Venice.
He graduated with honours in accordion from the Milan Conservatory and in Literature from  Venice University. He also holds a diploma in sound engineering and founded his recoding studio "Blowoutstudio".
His principal teachers have been Elio Boschello and Claudio Jacomucci. He attended  international masterclasses with Mika Vayrynen and Matti Rantanen (Finland), Yuri Shishkin (Russia), Iñaki Alberdi (Basque Country), Jean-Luc Manca (France), Krassimir Sterev (Austria).
He has performed in the United States (Harvard University, Boston University, Minneapolis University, Mata Festival in New York); Japan (Tokyo Opera City Hall, Yokohama Hall); Austria (Impuls Festival); Slovenia; Canada; Switzerland (Settimane Musicali di Lugano); Netherlands (Deventer International Accordion Festival); Germany (BKA Theatre); Romania; and all around Italy. He has collaborated with: Ensemble L'arsenale (Treviso); Metropolis Ensemble (New York); Acme Ensemble (New York); Ecce Ensemble (Boston); Neue Vocalsolisten (Stuttgart).
He's member of the PromenadeSauvage project, a duo for accordion and guitar (Maarten Stragier, from Belgium) exploring and commissioning new music from talented young composers.
Piovesan has been awarded many international recognitions among which: the "Grolla d'oro" and the international competition TIM.
As a soloist Piovesan has premiered numerous works some of which are contained in his two soloist CDs: "Musica Ricercata" and "sul Tasto" (digitally published by Col Legno). In the last couple of years he has been very active promoting and diffusing awareness of his instrument in the realm of contemporary experimental music. His project [accordion4composers] is available for free download on this website: it is a pdf book with audio samples intended to explain to  the composers how to write for accordion. 
He has held lectures and seminars at the Conservatorio Pollini di Padova, Boston University, University of Timisoara, Composit New Music Festival in Rieti.
His works has been reviewed by the New York Times; Seen and heard international; Suonare News; Blow Up;
He has been a member of the jury at the 38th International Accordion Competition in Castelfidardo, where he has been invited as a "skillful and progressive musician of the youngest generation" with his article "One possible way for accordion".
The output of the meeting has been the Modern Accordion Perspectives project, an expert panel of the most renowned accordionists, professors and young progressive musicians whose aim is to develop and spread the culture of contemporary accordion.

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Short Profile

NamePiovesan, Luca
Born inItaly, Europe
Home LocationVenice, Italy
Main languageItalian
Additional languages English 
attended UniversitiesConservatorio di Milano
Luca Piovesan - Sul Tasto - Col Legno
2015-02-07 Internazionale, Milano

Sul tasto is the title of a piece by Filippo Perocco recorded by Luca Piovesan. This 30 years-old accordionist in possession of a tremendous control of his accordion performs perfectly all of the pages of this fascinating disc, revealing further timber and expression aspects of this instrument which Berio defined as "always growing". New and bizarre sounds transform this instrument in a real coloured orchestra, resulting in a product which will excite the most demanding audiences.


(Carlo Boccadoro)
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Musica Ricercata (CD review)
"Here is a truly interesting and refined CD which presents a varied programme of transcriptions which have been carefully chosen. The artist is the young accordionist Luca Piovesan ( whom we learn is also a poet) and whom we will undoubtedly hear more of in the future.

The soloist has impeccable technique and an appropriate style for all of the many ( and varied) chosen compostions thus restoring their musical sense.

As previously stated , the programme , with the exception of two pieces (Winter morning by Zolotaryov and Disco-toccata by Makkonen) consists of varied transcriptions ... however, these are not the "usual" transcriptions or musical adaptations from the baroque, classic or romantic periods; in fact Piovesan, excluding the first two tracks (Moszkowski and Scarlatti), gives us works by contemporary composers: Taktakishvily (Pandur), Schnittke (4 pieces from the orchestral Suite "Revis Fairy-Tale"), Ligeti (4 pieces from the collection "Musica Ricercata") and Kurtàg (Ligatura).
It is well to note that - especially if one has never listened to the original versions - all these pieces sound like original compostions for accordion! This is undoubtedly due to the transcribers (Piovesan himself, Jacomucci, Shishkin and Semionov) and of course to the excellent artist.
(Alessandro Mugnoz)
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Sul Tasto (CD review)
2013-05-21, US
"This new recording by Luca Piovesan is quite important since Luca is providing new music by very outstanding composers who may never have written for the instrument without Luca's personal involvement. He quite obviously earned their respect, admiration and enough interest in the accordion to write for it. The seven composers included are active in several areas. Serious accordionists of all ages will find these pieces of great value. The pieces demonstrate how well the accordion adapts to the different styles of various writers. In fact, one may even download a copy of one of the pieces, "Pāramitā" by Gabriel Mălăncioiu by going to his website thereby giving a visual as well as the aural appreciation.

Luca Piovesan plays exceedingly well, there is no doubt that it was this type of performance which garnered the plaudits of these well-known composers. A casual listener may have a difficult time liking every single composition but there is no doubt he will like some of them enough to want to find them, practice and also perform them, too. For those performers wishing to find new compositions for the accordion, this CD presents many challenging possibilities.

"Sul Tasto" is the result of a two and a half years long project, a result of his cooperation with the seven composers: Yotam Haber, Lorenzo Troiani, Nildo Sanvido, Alberto la Rocca, Davide Ianni, Gabriel Mălăncioiu, and Filippo Perocco. The pieces are recorded on this CD for the first time. They are very worthwhile. I found some real favorites and so will you! 

The composers represented on " Sul Tasto" make interesting reading for those of you wishing to research their names and their musical activities. This also helps listeners understand and appreciate the compositions represented on this new recording much better. This research and the fine accompanying notes included on the CD jacket will also illuminate the compositions on the recording. These seven comp
(Joan C. Sommers)
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Review for solo concert at Timisoara University (RO)
2014-10-13 No. 14 Plus Minus, Timişoara
"The first recital from Tuesday, 28 of October , belonged to the remarkable accordionist Luca Piovesan, with an amazing solo program. The first three works were part of a previous project resulted in a CD digitally released by Col Legno. "Sul Tasto" by Filippo Perocco is primarily technical, demanding a refined touch and tuning, and develops into a mass of bewildering sound, turning almost the instrument into a self-sufficient organ. Nildo Sanvido's piece "Piedistallo I" went in the opposite direction a little raw expressive content, sometimes suggesting either closeness or distance from the sound source, however much extended technique was used than in the previous work, including a polyphony of touches. "Study #2″ by Yotam Haber is purely technical, a piece written for four accordions (three pre-recorded ones), their timing and trills in tempo Veloce looking like a game more suitable for one of Nancarrow's artificial studies than a human quartet. There followed two absolute first performances. "Duale" by Francesco Pavan, written just two weeks before the festival, however benefited from an interpretation that might already be considered the final one. The whole piece seemed to be a ritual between body and instrument, starting from a simple breath almost inaudible together with widening of the bellows to shout bursts and accents. The last work was "96bit music for accordion" by Matthias Kranebitter, Piovesan being assisted in the electronics by the composer himself. Much of the material was a relentless mix of commercials or static noise, in which Piovesan played excitingly. It was extremely predatory and Piovesan should receive the congratulations of having the full control in this maddening scenario."
(Victor Andrei Pãrãu)
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