Future Classic Women Awards – Enrica Sciandrone

Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on Women's Radio station, the program where we search for the most amazing new female artists on the classical panorama. Our guest today is the fantastic composer, Erica Chandrone. Good morning. Morning. Good morning. Well, Enrica and I are friends from a long time and funny enough, having a program on the radio, the hardest thing to do is to invite your friends to come and talk. Although they're super talented, it's like how long have been after you, you know, to say, come on, come over, come on, I want to show everybody your fantastic music. So Erica is a composer professor at Royal College of Music of Film Compositions. How do you say exactly, composition for screen? Composition for screen. What's the difference between being a normal composer, contemporary composer, if you like classical contemporary composer, and a composer for screen? Well, I don't think there is much difference, but of course the screen composer has to embrace a lot of more flexibilities. Like, you know, first of all, you're dealing with a team, so the director, the producer wants to, you know, say their own opinion about the music and you have to have that flexibility, of course, you know, in respecting your, your own, your own voice, whether that is possible or not. Whilst a classic composer, because it's, because he's writing absolute music, has a range of freedom. Let's explain, let's say film composition is kind of like programmatic music in the Romant period when they were having a theme and they were composing something about the spring, for example, the Spring Sonata. Well, it definitely has, it definitely has some non musical reference in mind. Screen composition, so which the film, you know, an image story, the editing of a sequence and these kind of things. So it's definitely music that, that is paired with something else. Whilst absolute music, you know, concert music doesn't necessarily have that. Although there are examples of concerts music, of course, many examples where you know, the composer is like Claire de Lune de Debussy, for example. Yes. I mean there are so many examples where the composer is referring something else. But the picture of an exhibition by Mosovsky more than. Yes. The fact is that, you know, when, when you're scoring a sequence, you know, the, the form, the, the musical form is dictated by the, the editing itself. So how the editing is, how, how does the, the sequence evolves, how many cuts you have and then maybe if there are some sync points to follow, so you have some technical things that actually force your writing in such a way that you don't have to follow if you're writing programmatic music. You know, you can write in programmatic music. You can write your own structure in any case, and you can pace it as much as you want. Whilst the pacing of screen music is dictated by the film, the film is your form, in a way. I got you. Yes. Yeah. Now, how strange it is, you know, I'm talking, let's say, like, I'm not a musician. Okay. How weird it is to see a movie who is absolutely silent and have to fill it in with your own music. It's not. I mean, I think the fact is there are some films that really speak by themselves, themselves in terms of where the music should go. So if I watch a film without. I mean, if I received an editing, a film in progress, you know, a rough cut or whatever, there's always a moment where you see, you know, this film doesn't work really, or. Yeah, it does work, but with the music, the meaning will be much, much better. So there is always a sequence or a. Or a. Or a scene in the film that speaks, you know, is definitely asking for music. But it's true. Even the contrary is true. I mean, if you think about, I don't know, like Roma, for instance. Roma doesn't have Academy Awards. Yes. It doesn't have any. Any music at all. And it really is a very good film, but it was thought to be without music from the start. So everything is very functional and works really by its own. So, yes, it's not weird. I think it's a little bit of the challenge that is the joy, the love that you get. And it's a little bit of a. Dealing with riddles, you know, and you have to guess or you have to find the right moment where the music really will make sense and will be meaningful. Well, you know, at the Grammys, at the Brits Awards, there is always the Film Score Award that is as important as an album of the year, if you like. Just because last week we had the Brits Award, something about that or the Grammys just recently. And there are some movies that. They are so remarkable and so memorable for the music together with the story, but the music becomes equal. It's a 50 50, really, for the power of it. Do you have any movie mind that you think, for example, one of my. The first one that comes to my mind is Dr. Zhivago with that incredible music and pictures and long scene. Or a Olivier with Lawrence Darapia. Yeah. Where the music become iconic. Becomes iconic. Yeah. Well, there are so many examples, of course, you know, if you can think about, I mean, Star wars to say something that became something else. The music became basically the definition of the franchise, really. And that is even, etc. Yeah, yeah, of course. I mean, any, any John Williams, you know, basically survives the. The story of the film in a way and becomes, you know, iconic by itself. So, yes, that kind of music, this is the music that speaks to me the most. I definitely tended to have a life beyond the film. And when that happens, I think that is the perfect moment because you, you realize that music can tell almost can replace a story, you know, or can. Can have a life of its own. And, and it's also performed normally. I mean, this type of music is performed by some of the greatest classical musicians, of course, classical orchestras. London Symphony Orchestra is one of the most used. And. Yeah, yes, that's. That's true. So it's. So it's totally classical music. That's what I want to say, together with being popular. Yes. So maybe it's the definition of crossover in a way. Yes, that's true. And actually, if you think about that, there is a discovery in the last decade of the importance of having live music film with live music that goes together and it's incredibly popular. It's really expensive to set, but when it does. They do that. Yes, they do a lot. Done the Barbican as well. I don't remember. Don't remember. I definitely know that the. I think the Royal Philharmonia tended to do many of those. And yes, at the Royal Albert Soul and I went there to see Fantasia once. Oh, my God. And that's, you know, that is classical music. Most of the time it's classical music, but, you know, it's just one of those joys. Yeah. So I think that's. That's an interest to some music that is. Can. Can speak, you know, to the wider audience. To the wider, wider audience. Without scaring them off. Without scaring them off. That's. That's a good point. And I was reading once somewhere, we were talking about the fact that actually classical music is everywhere from the child cartoon, the children. Yeah. You know, the Pax Bunny and. Yes. And you know, to the big movies. And so it's everywhere in the end. So people think classical music is only the one that you go to listen to when you go to big theaters, but actually everywhere. Yeah. And I think we needed to work on making that transition smoother because otherwise, you know, every, every time you think, oh, classical music, oh, my God, you have to stay silent or, you know, and, and it's actually not that scary and actually, you know, let's listen now to American A Dream by Enrique. Thank. You, Foreign. Welcome to Women's Radio Station. Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on Women's Radio station. Hello and welcome to June May is listening. Hi, this is Anna Kennedy and we're at Women's Radio Station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Meg Matthews. And I'm Carolyn Van Beers. Join us for a brand new show on women's radio station. It's the Meg's Menopause Show. Yes, for the first time on radio, there's an entire show dedicated to the menopause. A fresh new approach where we inform you of all the choices and treatments that are out there, supportive and empowering. This is your show, so join us every week with a host of celebrity guests. Our very own resident doctor where we talk about everything menopause. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show From Tummy to Mummy here on Women's Radio Station. Every week I'll be here with an expert guest talking about women's reproductive health, everything, fertility, pregnancy, birth and baby related right through to the menopause and beyond. Please join us for an informative and fun hour. My name is Ingrid Marsh and I host the radical well Being show supporting women's well being. On my show I bring you ordinary women like me and you who are sharing their unique stories. 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Join us on Instagram and Twitter womensradio station, that's womensradio Stn or Facebook Women's Radio Station to keep up to date with all our exciting programs. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Our guest today is the Italian composer Erica Chandrone. Erica, how did you decide to become a composer? I mean, you started as a pianist, am I right? I didn't decide either to become a pianist nor a composer in the sense that when I was young I was very, very shy, a very shy girl. And my mama at some point to get me some, something to do other than, you know, my usual painting or, you know, nice building blocks, toys and stuff. She, she, she said, you know, why don't you play the piano? So I started and I loved it and you know, I just got in love with it. But that actually was. I met with your piano teacher who is an incredible pianist who recorded the music for of course, Gilda Bhutan. Yeah, yeah, yeah. I mean, my first piano teacher wasn't Gilda, but yeah, when I got into the conservatoire. So Gilda is a sort of a legend because she recorded the music of Morricone from the Pianist on the ocean, etc. And she told me you were an amazing pianist too. Yes, actually, she tends to say, I don't know if she. But we have a very, very friendly relationship now, so there's a little bit of that as well. But yes, I definitely, you know, she was the best. And actually, and she was already embedded in that film music context because she was Maury Connor's pianist, I must say. She's not only that, she's an incredibly great pianist. And you know, she, she's done a lot of, of albums now. She just released, I think the Goldberg, Goldberg Variation. Yes. Oh, cool. She, she, she did that. So she, she's not only that, but yeah, you know, the popularity side. Yeah, tended to, you know, just simplify, you know. You know, when you started studying with her that she was the pianist of or you just had her as a teacher. Yes, yes, she told us, she told us. And she was constantly very busy, you know, going to your recording, just staring and, you know, being mesmerized by all the stories about concerts and going There and then flying in another place. So were you planning to become a concert pianist? I was really, really intrigued by that idea. And then what happened is around, I think, before meeting Gilda, actually. So just before getting into the Conservatoire, I had a workshop with a composer. It's called Antonio Dantov, fantastic composer that was in my. In my region. And he told me, I think you should study composition. Wow. And I was something like 13 years old. Something like that. But just the only the fact that you decided to try a position workshop. Yes. I can't remember how it came. It probably was a friend of mine saying, oh, why don't you come with us? And we're doing this thing. Wow. Destiny sometimes is like calling you, you know, but even, I mean, I always, you know, I'm always grateful to, to. To Antonio for saying, you know, you should do that, you should do that. And yes, I say, why not? I mean, I have to do the same kind of. I mean, I had to do sort of a sort of exam to get in, and I got in. And so I did both piano and competition at the same time. And that queen is very young. I mean, you don't start that young composition normally. It probably will be. No, actually, you know, 13 was when happened. That fact happened, but I can't remember right now. I think it will be 16 when I. Yeah, but I know I can't remember. When I was guitar at the Conservatoire, I remember people would finish up maybe an instrument and then decide to go into composition. I was doing two studies at once, and both of them, plus the normal school. Plus the normal school. I remember my mom picking me up from school and goes, today. Well, just sandwiches on the way. Okay, so. So by, by the time that I was. I mean, I was kind of finishing them. Finishing both piano and. And composition at the same. Around the same time. And I was mostly focused on my piano career and I had a piano trio. We were studying with Constantin Bogino with. With the Trieste Trio. It's one of the best. Know that. Okay. You know the Academy, we went there. I mean, it's just seriously going piano okay. In that. That direction. And that's why your piano music is so clever as well, I guess. You can play. No, no, I played a couple of your pieces. And you know, it's not that common that you can find some of them something written. Yeah. For piano properly. Sometimes composers go wild. They know that pianists can do so much, but they forget that some things are not comfortable. Piano, whatever. And your music is. Remind me a little bit of Sorry if I say. But Scabin the pieces. That. Yes, that's true. I mean, because you play the mask. Mask in impromptu. Yeah, yeah. I was playing Scare and there was something that wildly reminded me. Not that this. Yeah. Thing. But, you know, the way of writing. It was clear that it was written from a pianist of a certain level as well. Yes, yes, yes, yes. And so what happened next? But at the same time, that is the funny part. In Italy, you know, there is a little bit of resistance about. I mean, back then. I'm sure that it's not like that. I'm sure it is still like that. Sorry, I'm not convinced about that. But any. Anyway, so my composition teacher has been Antonio Di Povi, who was quite active in rai. He was a film composer himself. So RAI is the equivalent of BBC here in the uk, is the national television broadcast. And so I was, you know, I was intrigued by that field and I was. But I want to do that as well. I started saying. Nobody really believed me. And of course, there is a lot of technical skills that I didn't know back then and I wanted to develop. And I kept saying. I kept saying. And nobody, you know, all the doors were shut. Shout out to me, in a way. And so I did at some point, I did master class still at the Kijana Academy in Siena with Louis Bakalov, who's, you know, who was. No, tell. Tell the. Tell the audience. Yes. An Oscar award composer, you know, is the professor winning film composer. And he noted me. He noted me among all the. All the people. So he gave me a scholarship and say, okay, now if you want, you can. You can become my assistant. And it was simply assisting, like, you know, either coping or refurbishing the orchestral score. So, I mean, he's a fantastic orchestrator. So I can't say that I orchestrated this work because that will be, you know, unfair. But definitely you collaborate. Yeah. Yes. I had a chance to study and to improve or maybe just asking a few things. Do you think this works? Yeah, yeah. No, no, not. Yes, you know, this kind of thing. Amazing. And so I had this amazing chance and I say, okay, now I have to progress. But again, many, many doors were shut to me. I mean, not many opportunities or for free or, you know, those kind of situations where you feel that it's not the right place. And then I applied to the Royal College of Music. Well, we're gonna talk about that in the next section. The next piece we're gonna play is ballad. Okay. Yes. Ballad is from Tiempo Da Luvia, which is a feature film that I scored in 2017. Oh, fantastic. And by Ita Janssen. And it's been around for quite a while and a lot of success for the. Say again the title of the movie Tiempo de Lluvia, which means in times of rain. Let's listen to ballad. Sa. Welcome to the Women's Radio Station. Supporting women's well being. Women's Radio Station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. 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We give practical help to get people back on track. Whether you're thinking of having a baby, Trying to get out of an unhappy relationship or just unsure what benefits you may be entitled to. We can help visit turntous.org.uk welcome to the Women's Radio Station supporting women's well being. Women's Radio Station can give voice to your brand. With a wide range of of sponsorship opportunities, including individual programs. We can tailor your experience for you. For more information on how you can sponsor a Show, go to womensradiostation.com Women's radio station supporting women's well being. Welcome back to future Classic Women awards on Women's Radio Station Today. Our special guest is composer Erica Chandrone. Enrique, you came from Italy to study at Royal College of Music and then you ended up being a professor at Royal College of Music. Would you ever dreamt about that? I wouldn't ever expect that. No, absolutely. I mean, how did you leave Italy? Thinking I'm going to London to Royal College of Music. Well actually that was one of those sign of the destiny that I'm very happy about because at the same time I did without saying to my parents, I did the application for the Royal College of Music. They wanted me to embark in a career as a teacher for secondary schools and they got me in an exam, I had to do this exam for teaching music and stuff. So I did it because, because I love my parents. And then I say, okay, whatever happens now, if they are going to get, you know, if I am getting into, to the Royal College of Music, okay, that's, that's my destiny. Okay, I got you and I, I, they gave me full scholarship something, you know, unbelievable like, you know, I didn't have to pay anything for it for the two years of the master. Well, you're incredibly talented. So still, I mean I wouldn't expect, you know, there's a lot of talented, you never know. That's the problem when you, when you are the talented one, you're like, what? How is that? I don't know. But I was really, really relieved by that because I say, see, I mean I got this and I'm going to go to support. Yeah. And then they actually, you know, they were absolutely so supportive anyway and, and so after leaving college, I mean I graduated, you know, very, very well and stuff. Then actually I have to thank Italy for getting me in to the Royal College of Music as a, with an internship in, at the same department. Oh really? Yes, because it was a, a scheme that I think they shut down or maybe it's frozen. I, I'm not sure. But it was called working with music and it was organized for the first year by a professor that was in my old conservatoire. So she. She told me, you know, just there is an opportunity just to the. These. These things, because they would create an internship, paid internship with the college. So the college didn't have to pay anything. Wow. But they got, you know, they got an assistant, you know. Oh, yeah. And I always had this very good relationship with the Ari leader, Vasco Hexela. Now he's not their leader anymore. He left the country. But. And. And the new leader. And the new leader, he's another friend of us, Dimitri Skerlasko. He was on the radio in. In October, I think. Oh, really? Yeah. I mean, he was supposed to be here for his CD with the cellist. Yeah. And she never. She couldn't make it. So I ended up. So he's interviewing Dimitri on a women's radio station. Wow. Yeah. So. And so Vasco said, you know, in any case, we are. We are posting this job, so, you know, just. Why don't you apply? Why don't you apply? And then they liked me. And then that was the story. Actually, you had another job. I know it was at the university in near Luton. Yeah, yeah, yeah. But that was. Yeah, something that. And that was a very interesting story that you told me about having students, university students, that they had no idea that classical music was so into pop music or rap music, for example. I mean, that was. I don't know, that was for an undergrad type of work. So sometime it was a mixed. Mixed type of classes. So there were some people that were knowledgeable about classical music and other people that knew anything, but, you know. But they were doing still music. Yeah, yeah, they were. They were making music. Yes, yes. And I'm always fascinated when you find, for example, Queens, the queens that he. Predi Mercury. He had piano lessons and he knew a lot about classical music and he tried to put that into, for example, Buen Mian Rhapsody, etc. So was that an interesting experience? And I mean, one thing is to teach students at Royal College of Music the temple of class, classical music of, you know, people that they know perfectly what they're doing, which direction they are taking. I mean, I think what I learned from that, that that experience is how to communicate with people that may not know nothing about what you're talking about. And this is. This is what I'm trying to do with this program as well. So we have. The audience is not necessarily people that they, of course, a typical audience of classical music. So we're taking classical music and the job of a classical music. I think that the label is wrong. I mean you should just call music, you know. Absolutely. And music is something that you do when you are two years old, you know, onwards, you know, even before. Even before than that. You know, all the nursery rhymes. Yeah. I mean it's just embedded in our culture. Anyway, so now I have to ask you, what was the most exciting moment in your career then, apart from getting the place at Royal College of Music as a student and then as a professor? Yeah, I mean there have been many actually, but I may just condense for now to one which was the. I was one of the finalists of the World Academy in Ghent in 2016. In. No, in Belgium. Belgium. Gosh, my geography. I knew it was around. I think it's Belgium. No, it's definitely Belgium. Ghent and Google. Yeah, I think that was a very important moment. First of all, it's a very competitive competition for young composers and you have to do basically an orchestral score based on a sequence that they gave you. And so already the selection was fantastic. And also the other thing that I think was memorable is that I was the first female composer to be ever in the finalist group of the, you know, they competition. I've been running for at least 10 years. I'm. I'm saying I may be wrong but, you know. Yeah, that was the first time that actually, you know, that. No, I don't know. I mean, why is that? Do you know? I have an answer for that. And this. Any statistics? Because to be honest, when you apply, you just send a logo, you know, you are not codified as female or male. Yes. So the statistics that I'm talking about. Is that something that I'm seeing on my own experience when we are interviewing, for instance, students for the college, the percentage of women composers is very, very little. I would say 10% of all the applicants. So clearly if there is a selection because of merits, say that, you know, out of a certain number of composers, you get, I don't know, 30% of those into the. Into the college. You know, out of that 10 of the entire applicants, then you got a 30%, you know that you have one. Exactly. That is what I'm saying. So things are changing because in role models, you know, now the. The success of Hildguru, that she just won the Academy. She won everything was available as she got everything. Congratulations to her. Yeah. So I think that is really important because. Is creating more and more role models for. Yeah. So how did we get here? Well, the problem is it's Already time to listen to your next piece. So it's Waves third. Okay, still another film from ETA Janssen. So we have this collaboration that is Per during. Since. Since in times of Rain and it's an installation about climate change. It's very poetic film. She wanted to invite you back because there is so much more to talk about. I know you're a big environmentalist as well and we don't have enough time. Well, let's listen now for Wavester by Erika Chandrone. Thank you. Welcome to Women's Radio Station. Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on Women's Radio Station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at Women's Radio Station supporting women's well being. And we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Meg Matthews. And I'm Carolyn Van Beers. Join us for a brand new show on women's radio station. It's the Meg's Menopause. Yes, for the first time on radio, there's an entire show dedicated to the menopause. A fresh new approach where we inform you of all the choices and treatments that are out there, supportive and empowering. This is your show, so join us every week with a host of celebrity guests. Our very own resident doctor where we talk about everything menopause. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three. And I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show, From Tummy to Mummy, here on Women's Radio Station. Every week I'll be here with an expert guest talking about women's reproductive health, everything, fertility, pregnancy, birth and baby related, right through to the menopause and beyond. Please join us for an informative and fun hour. My name is Ingrid Marsh and I host the Radical Wellbeing show supporting women's wellbeing. On my show I bring you ordinary women like me and you who are sharing their unique stories. Women who have refused to be defined by their pains, to be silenced by stigma or crushed by stereotypes, and who are taking back their power. And together, our mission is a simple one. And that's to inspire you to kick away the roadblocks too. To don your wings and be the person that you were born to be. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate. And you can listen to my show get booked here at women's Radio station daily at 5am and 5pm throughout my shows, we'll talk about the books I've read, new releases, chat to authors, publishers and book enthusiasts, all with a theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. You're listening to women's radio stations supporting women's well being. Women's Radio station's creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradiostation, that's womensradio stn or Facebook. Women's radio station to keep up to date with all our exciting programs. Welcome back to future classic men awards on women's radio station today. Our guest is Enrique Chandrone, composer from Italy, a professor, Royal College of Music of skin composition, composer of fantastic movies of music. Fantastic movies. Now it's time for the odd questions. So I'm gonna ask you if you have any ritual or superstition before starting a recording, a new project, something. Yes. So for the recording, I would say jelly beans. So every, always before the record, any recording that I do, I always have a pack of jelly beans next to me. And the reason being is because many actually, I tended to have a very low blood pressure. So when there are moments like awards or you know, kind of moments where I have to conduct, so my pressure goes down. Yes, exactly. So I got some. I remember that I came, you know, I was selected in the ASCAP workshop in Los Angeles and in 2012, so I went there conducting, you know, this 60 plus piece orchestra. And that was really, you know, I mean, I was sure that I was able to do it. And if you see the video is just, it's on my website and it's really, you know, I, I feel really confident. You look like. Yeah, but inside. And if you see at the beginning of the video, I mean, probably I edited that so you don't see it. There was a, a file of jelly beans. A file of. Yes, jelly beans all stuck next to my, on, on the, on the podium. And just in case, and I was, you know, from time to time I was getting one just in case, you know, I don't want it to because it happened to me once in an award ceremony that I felt so bad I had to sit down, sit down. And. Yeah, yeah, it happened to me. Oh, wow, that's impressive. Every Time since then, you know, jelly beans on my side. So any. Any embarrassing moment apart from almost fainting when you were going. That was probably the most embarrassing moment. Yes, yes. The other embarrassing moment may be when. When I was recording Time of Rain because I was nine months pregnant, but that is not embarrassing. But it was a little bit complicated. You know, I had an interview when I was almost nine months, like a week before I was due to. Yeah, yeah. I mean, that's the same. There was the week before and I had. I had to record something at the piano and so I played Scriabin and. And then I listened to it later on. Oh, my gosh. I was. So you could. You could tell I was pregnant because it was so heavy. You don't realize it, isn't it? So when you conducted, did you realize you were maybe. No, I wasn't conducting. I was fearing. Yeah, no, no, I didn't. I didn't want to conduct because, you know, in case anything happens, at least, you know, I can leave the room. Okay. Now, what is your next project or so, in terms of music? I'm working on a documentary about Marina Abramovic. Yes. And it's going to be, you know, I can't say things about it, but would you like to tell who is. She's a performing artist. She did this show at The Serpentine in 2015 and the company I'm working with, they did an exclusive deal to. To display that show. Incredible. Yes. With the documentary. It's really powerful. So that's the next thing. There is something happening this week, am I right? Yes, there is. So I'm also conducting some time. And in this case, I'm conducting this concert for chamber. Chamber ensemble and sounding stones. Sounding stones, which are. Yes, what they say. So these are stones that make, you know, they make music and sounds. So they pro. The project has been brought forward by Andrea Granizio. And is that the Italian at the Italian. Yes, that exposed there. The stones. Because I said saw them. Yeah. Yes. So the concert is on the Italian Cultural Institute in London this Thursday at 7:00pm okay. And so we'll see this sounding stone in operation and I will conduct for. For. For Andrea. And did you compose music for this concert to go with the stones? No, no, no, no, I didn't. I mean, I'm being asked just to do conducting in this case. And. Yes. So just to mention, these sounding stones, they've been developed by an artist, actually. So it's an artist musician called the Pinuccio Shola and from Sardinia, am I right? From Sardinia. So he's dead. But his daughter is also playing the Stones together with Andrea. So it's going to be quite interesting. Okay, interesting one. Yeah. Fantastic. Well, best of luck. Now, the last song we're gonna listen today, it's Rapunzel. Yes, Rapunzel. Rapunzel. Yeah. Yes, yes. It's basically, yes, this is a long term project that I'm developing where it's programmatic music but with a sort of cinematic idea in mind. So basically the story that you will hear is, you know, the, the prince that is going to the, to the forest to, you know, to meet Rapunzel and, and then actually when he climbs the tower, there is a witch. And you will notice that. I mean, I don't know if you're going to, to fade out. No, no, no, you will miss that. No, no, no, no, we're gonna listen to it. But yeah, basically it's programmatic music and it's a project that I'm developing as a sort of a research project on my own. It's about the stories by the Brothers Crimson. Exactly. Right, yes. Did you compose other stories? Did you make the music for other stories from the Brother Grimm? Yes. For Cinderella, for Frog Prince. I mean there's many. But basically I'm so curious because that's gonna be fantastic. When is that? When do you plan? Yeah, it's a long term project in the sense that because it's my personal project, it may take ages, but this recording actually I should mention, has been made in la. LA again, because when I, I got an award, a grant to come back to LA after the Ask up workshop and, and have Los Angeles another demo of my work. So I say, okay, that's, that's, that's the right time to do it. So you will hear, you know, it's the best with, with the best performance possible. Yes. And Nicholas Dodd is conducting. So it's just I was so fortunate to work with these people, to be honest. So it's a long term project, so I don't know exactly the, the timeline yet because it kind of has to work with my own commitments anyways. Absolutely. But let's listen then. Rapunzel by Erika Chandrone. Thank. You. Sa. It. And this was Rapunzel by Erica Chandrone. If you have any questions that you would like to ask to our guest or nomination on our future Classic Men Awards, Please email presenters womensradiostation.com or tweet us@womensradiostn. A big thanks to our guest, Erika Chandrone for the great chat and the beautiful music play today. Thank you for your interview, Stefania Erika it was a pleasure. You have to come back because there is so much more we have to talk about. A big thanks to you listeners for listening Future Classigan Awards on Women's radio station live every day at 10am and 10pm London time. If you want to listen to it again or catch up on our previous program, you can head to the presenter page. Stefania Passamonte Future classicmen awards on womensradiostation.com thank you for listening. Thank you. Welcome to the Women's Radio station Supporting women's well being Women's Radio Station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. 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