Guido Mallardi is an Italian pianist, composer and researcher, winner of 'On Piano Creativity' Permanent International Contest and recognised for both his fine playing and his interesting compositions by such famous figures as Alexander Lonquich, Héctor Ulises Passarella, Rodion Shchedrin, Frederic Rzewski, Piero Rattalino and Yoshiko Okada.
His repertoire includes music from Bach to Ligeti as well as his own music (experimental works and innovative jazz arrangements), and also music composed by non-musicians through the Brainarm method, which is his main achievement in the musical research field.
Since 2016 he is an appointed juror of the WPTA International Piano Competition (member of the Alink-Argerich Foundation).
He studied at Conservatoire of Fermo, Conservatoire of Milan, Incontri col Maestro Academy of Imola and École de Musique Mozart in Bruxelles, graduated in 2006 from Fermo Conservatoire with a post-MA in piano and a first class BA in compostion, won the 'On Piano Creativity' Permanent International Contest and a scholarship.
He studied composition with Marco Di Bari, harmony, analysis and counterpoint with Fulvio Delli Pizzi, analysis with Michele Ignelzi, while his piano teachers have included Piero Rattalino, Enrico Belli, Fausto Bongelli. In parallel he also attended piano masterclasses of such great masters as Alexander Lonquich, Boris Petrushansky, Jörg Demus, Franco Scala, Massimiliano Damerini, François-Joël Thiollier, Pierluigi Camicia and Giovanni Valentini; also Pier Narciso Masi and Alain Meunier for chamber music.
His performances in Italy and abroad made him collecting great success as a very communicative and charismatic musician.
In 1998 he has been the first pianist to perform in Italy Gyorgy Ligeti's works for two pianos.
He is passionate about improvisation and experimentation and has worked in genres ranging from contemporary music, modern jazz and ambient/psychedelic. These experiences have led him to develop his own style, which he terms "Narf", a kind of inside-impressionism characterized by minimal diatonic constructivism. An example of this is in his work Dentro, which is in the catalogues of Orléans Concours International de musique XX siècle.
Where Dentro is sacred inspired, delicate and suspended, the collection Prophandances is very colorful, rhythmical and iconoclastic, taking elements of acid-jazz to create a large form genre out of it.
Among his works are various ensemble and several piano solo pieces.
During the years 2002 to 2004 he took part to Alexander Lonquich's and Marco Di Stefano’s theatre companies, working as a pianist, improviser, composer and actor. In 2004 he wrote and performed some arrangements of famous songs of the early 1900 for the theatre Piccolo Re di Roma.
A complete musician with eclectic artistic personality but also an inventor and a researcher of new methods to teach as well as composition music systems, his formation is full of experiences with various oriental disciplines and philosophies before his definitive discovery of the first century Christianism.
He has taught piano, theory, composition, harmony, arrangement, counterpoint, improvisation in a number of music schools in Italy for approximately 15 years, developing and launching in 2008 a method he has called Analogic, which is focusssed on developing consciousness through music ("from inner-world to outward”) and tries to describes music through a development of symbols and archetypes, for application in composition, analysis and performance. This type of approach, includes a system of symbols called "piano tecnique stenography" to assist musicians with approaching a piece of music and learning it without technical mistakes.
In 2012 as well as founding a school known as the Accademia Professionale di Musica, he started making public demonstrations of his "Brainarm method", which gives non-musicians tools to compose high quality music without requiring that they have any prior knowledge of theory or technique.
Going against a common belief that it is only possible to compose good quality music once someone is already highly versed in theory and usually an extremely accomplished pianist, the Brainarm method is for anyone: a way of empowering everyone who wants to write music, no matter what their level of musical knowledge. Interestingly, despite taking advantage of the instrumental technique and the experience of the tutor, no influence comes from him during the composition process.
To listen to some music composed by beginners and non-musicians, please visit the music section in www.brainarm.com.