As a bass player, he has had a very intense activity in both jazz and classical music. He collaborated with the Symphony Orchestra of the RAI in Rome, and as solo bass-player he has also collaborated with the Teatro Massimo of Palermo, l’Orchestra Regionale Toscana and l’Orchestra Regionale del Lazio.

Since turning his attention to baroque music, he has performed all round the world with the Viola da Gamba, il Violone and the baroque double-bass, collaborating with major ensembles, such as Labirynto (Paolo Pandolfo), Elyma (Gabriel Garrido), Il Concerto Italiano (Rinaldo Alessandrini), La Grande Ecurie e la Chambre du Roi (J. C. Malgoire), Accademia per Musica (Christoph Timpe). Andrea is also a co-founder of the ensemble Cappella Mediterranea.

As a soloist of the viola da gamba, Andrea has performed in Italy, France, Switzerland, Spain and Mexico, playing in the major festivals, such as Ambronay (France), Sajazarra (Spain), and “Encuentros Internacionales de Musica Antigua” (Mexico).

A CD with his recording of Marin Marais Suites for the Viol, is going to be released for M.A. Recordings (Japan) later in 2004.

Viola da Gamba
triennial, (18 classes per year)

	Technique of the instrument
	The viol in the trough-bass practice
	The Viol in the treatises
	The Origines: Italy between XVI and XVIII century: diminutions and improvisation on songs and madrigals. the “viola bastarda”.
	La viola in England. Tarlature. The “Lyra Violl”.
	“L’age d’or de la viole”: France between XVIIth and XVIIIth centuries. Saint- Colombe, De Machy, Marais, Forqueray.
	J. S. Bach and the late baroque repertoire.
	Consort of viols.

Final public exam.

Chamber Music
biannual, (18 classe per year)

	for instrumentists, singers, and pre-constituted ensembles
	Chamber Music from XVIIth to XVIIIth century. Stiles and interpretation. The Sonata, Suite, Canzona, Sinfonia, Cantata (sacra e profana), madrigal.

Exams:
Public performances.