I’m Andrea Pandolfo, the composer who’s working on Nando’s World musics and soundtracks.

Besides my studies in the academy of music, and frequentation of jazz and classic music, the participation (from ’97) to the project group Klezroym was determinant for my artistic identity. Klezmer music, so rich of different roots and freedom of expression, is an outstanding laboratory, full of creativity.

What have fascinated me of Nando’s World isn’t just the quality of the project, but is originality, the quality of his collaborators, but also, as I’ve written in a recent email to Alberto and Eleonora the fact that “isn’t simple to meet people like you who loves their project and are happy to open themselves to others to share and nourish them.”. I believe this is a determinant quality which is favouring the spur of creativity for all of us.

Nando’s World is a wonderful laboratory of fantasy where there isn’t room for the simple likelyhood or for judgment, no room for the slight division between right and wrong, good and evil. With Nando’s World we’re venturing in the risky and exciting terrain of non-conventionality.

Some considerations about music.

Nando’s World music will be written to be played almost exclusively by my band, “Out of Tune”, www.outoftune.it, barely composed of flexible trumpet, sax, and tuba.

In my first email about the music I would have liked to create, I wrote to Alberto and Eleonora as follows:

“I’d like the music would be able to keep together opposite elements: tradition and novelty, freedom and compulsion, quickness and resting, surprise and moderation.

Oxymorons which seems to depict, mostly at least, the world of Nando. It’s a bet. But what greater oxymoron than decide to make play for Nando’s World the small version of a balcanic band – stravinskyan one -, a jazzband for inns?

I’d like to make music of the fatalism I pick in Nando and his companions (and his creators, maybe). They’re old people after all… in a world, like ours, where looks like they doesn’t have a place anymore. Fatalism allow them to move without the weight of expectation, without the anxiety of sudden success (such a bad word). All becomes possible when you cross the borders of solitude… only when you pass that border it’s possible the encounter with the other – out of yourself, in the true world of affectations and desires. Only when you pass the border of solitude (in front of death) the Elder-Ours, fatally, find out life. If the Elder-Ours fade away from life who’ll guide Us, in the crossing, in the life?”

If I’m being able to do it, at least partially, you could say from the brief summaries and the working proofs you will find below.

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1 comment

  1. As I work I listen to the Nando’s World soundtrack by Andrea Pandolfo.
    And all I can say is thank you!
    Honestly, whenever I run out of inspiration, Andrea’s music reminds me what Nando’s World is about. I can literally see the characters in my head, moving about to the music.
    With the Nando’s Theme playing in my ears, I can see Nando walking along, at a slow but determined pace, with the help of his cane and electronic calipers, through the endless strange environments of Nando’s World.

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