Miranda

Examining in more detail the repertory for voice and pianoforte, it can be said that Gandino starts with established traditional structures, within which however he is capable of immediately introducing elements of novelty: from the very first attempt, the constant use of the word lirica, bearing testimony to an idea of composition in which the poetic element is established even from the title as the cornerstone of the creative act. Such an idea influences both the song (always ‘melodious’ but not as an end in itself, but mindful of the subtleties of the lines) and the piano part (never a mere decorative element, even when ‘accompanying’ the voice, but always a co-interpreter of the meaning of the poetry set to music).