Teaching activity

Teaching activity

Ordinary courses

Accademia Musicale Pescarese: Piano
Arts Academy (Rome): Composition
Conservatories in Foggia, Campobasso, L’Aquila, Pescara: Score playing

Advanced courses

Chamber music
Contemporary music
Ear training


Prokofieff, Skrjabin, Rachmaninoff
The fugue from Bach to Shostakovich
Romantic piano music
Exspressive elements in studies
The sonata from Scarlatti to Chopin
Tonal harmony and piano writing
Memorization for performance
Arrangement for piano
From Couperin to Ravel: Le tombeau de Couperin

Concerts organization

Concerts organization

1999 Poulenc, Bartök
2000 Hindemith, Messiaen, Castelnuovo-Tedesco
2001 Schönberg, Berg, Webern
2002 Various european composers
2003 Berio
2021 Musica di oggi per una tragedia di ieri (a project by Fabio Cellini and Marco Ciccone)
2022 Holocaust remembrance day; Dopo una lettura di Dante (music related to Dante Alighieri’s “Vita nova”)
2023 Versi e note (poetry and music)

Orchestrations, transcriptions, arrangements

Orchestrations, transcriptions, arrangements

Reworking and adaptation of famous pieces of classical music for Ecuba by Euripide

Transcription for voice and strings of some romances by Francesco Paolo Tosti

Composition of continuo for F minor viola sonata by Pietro Nardini (1722 – 1793)

Activity as arranger and conductor of pop music

Orchestration of Sonata op.19 for saxopohone by Paul Creston – © 2008 by Templeton Publishing, a div. of Shawnee Press, Inc.

A few months ago a saxophonist, complaining about the scarcity of repertoire for saxophone and orchestra, pointed out to me how lucky pianists were to have an infinite number of pieces for piano and orchestra at their disposal. He then added that the orchestration of some pieces taken from the repertoire for saxophone and piano would be welcomed by saxophonists. At the moment I didn’t give much weight to the matter; later, however, I thought about it and finally decided to take up my friend’s idea. The choice fell on Paul Creston’s Sonata op.19; it was a piece that I knew very well having played it many times and I knew that it was well suited to an orchestral version. In my work I have remained faithful to the author’s thoughts: I have not changed anything about the harmony or rhythm; I limited myself to creating a new “look” for this jewel born from the brilliant mind of Creston.

Pescara, December 2008 – Marco Ciccone

…thanks for excellent work done; receive my sincere congratulations!
Gianfranco Brundo, Italy – December 23, 2008

I congratulate you for idea and arrangement work…
Massimo Mazzoni, Italy – January 8, 2009

…thanks… this is an important addition to our repertory
Claude Delangle, France – January 10, 2009

…you have done a very fine job of transcribing it for orchestra…you are to be congratulated on your fine musical arranging skills…I knew Paul very well… I am sure that he would approve…your arrangement does the work proud…
Frederick Hemke, USA – February 17, 2009

… congratulations for your work
Gianfranco Gioia, Italy – March 13, 2009

…it is great to have an orchestra version of Creston’s wonderful Sonata! Many thanks for doing this!…
Susan Fancher, USA – July 13, 2009

…we enjoyed playing your arrangement and I can tell you that it works and my saxophone colleague at Western Illinois University enjoyed the colors the orchestration brought to the sonata…
Dr. Bruce C. Briney, orchestra conductor, USA – March 3, 2010

…I had so much fun performing it! I thought the orchestration was fantastic…none of the parts were ever too loud and the orchestra never covered me up…parts sounded very good together…the orchestration was amazing!…Thank you so much!!!
John Reinhardt, USA – March 5, 2010

…let me extend my thanks to you for this wonderful orchestration that makes Creston’s Sonata able to be performed with this medium. Your work really opens up a whole new venue of performance opportunities for a crucial piece of saxophone repertoire…it really is well done…Congratulations!… …the percussion is very tastefully done though; I especially enjoy the woodblocks… …interestingly enough, there were some openly admitted, pre-performance skeptical who were very impressed post-performance, and really thought that the orchestration “worked.”… …all in all I really do like the orchestration… …once again, thank you very much for your work…
John Seaton, USA – March 26, 2010

I heard Your version of Creston’s Sonata. And it’s great. I like it.
Vladimir Shkurenko, Russia – November 2, 2010

Really, very good work!
Georgia Lionaki, Grecia – December 3, 2010




Simone Palmieri, Andrea Manzoli, Marco Della Sciucca, Paolo Rosato, Marco Moresco, Davide Remigio

soprano: Caterina Di Tonno; clarinet: Guido Arbonelli; violin: Diego Conti; cello: Jacopo Di Tonno; piano: Marco Ciccone; Percussion: Riccardo Rossi

Les ouvres pour piano
2010 – Produzione: Dap

Patrice Fouillaud

Marco Ciccone: piano

sound engineer: Rizziero Palladini

Works by Ada Gentile

Ada Gentile

P. Kleemola, M. Ciccone, A. Ceccomori, E. Harbova, J. Mrazova, G. Scurti, A. D’Errico, M. Matsuoka, C. Mathias, E. Marocchini, D. Vlasenko, Orchestra Sinfonica Abruzzese, I Pomeriggi Musicali

NOVOSAX – Great composers for Mimmo

Luis Bacalov, Lorenzo Ferrero, Cecilia Chailly, Giovanni D’Aquila, Giovanni Sollima

Mimmo Malandra: saxophone
Marco Ciccone: piano


Patrice Fouillaud

Clara Buijs, Francois Veilhan, Amaëlle Savary, Ninon Hannecart-Segal, Marc-Antoine Millo, Marco Ciccone, Lou Veilhan-Patou