Composer, poet and researcher.
From 1966 to 1973 he studied double bass, flute and composition, in part at the
Conservatory of Santa Cecilia in Rome, partly privately, and then leave the school
environment to further his studies in the fields of other artistic expressions.
From 1970 he started to compose presenting choral, chamber and symphonic works at
different institutions, both in Italy, Europe, Middle east, Africa and the Americas, as
well as in the Soviet Union.
Among the musical works: Aforismi for piano (Rugginenti, 1970); ... di alcune figure for
orchestra (1971/72); Aeon for chamber orchestra (Sonzogno, 1980), Nel tempo e nella
ragione for orchestra (Sonzogno, 1982); Realgar I / II for trombone and tape (Edi-Pan /
Since 1987, in the extreme distillation of writing and composing, more and more
convinced of inadequacy of the the usual concert channels, he preferred to entrust the
spread only to the middle of recordings.
With Terre Rare (Rare Earths) (project started in 2003 and still in progress), he began a
series of "unlimited" projects (work in progress) in which the author himself - through
real encounters or direct talks - individually enter in contact with the user-partner of his
Recordings to his credit on behalf of: Bess, Pentaphon, Rusty Records, Edi-Pan,
Dynamic, Amiata Media, Audiovisual St. Paul, BMG, Ants.
Alongside the musical experience, from his early youth, he devoted himself to the
composition of poetry. He has published the books: Da un'altra infanzia (Ed. del Leone,
1987), Encanto (Amadeus, 1991), Nel riverbero del nome (Tracce, 1993), L'oro della
sera (Allemandi , 1999).
In its path, artistic and existential experience are increasingly inextricably linked. For
this reason, feeling his beliefs are incompatible with the teaching as well as organized in
the school, survey voluntarily resigned from the Conservatory of Music "L. D'Annunzio" of
Pescara, in which he held the chair of Harmony and Counterpoint - becoming its owner -
After that date he preferred to decline any invitation on courses or seminars that would
provide for a "normal" educational excursion.
After having voted entirely to "do", to produce works in the musical and poetic, in
recent years goes by probing the possibility of building a purely interior work.
He cultivates the silence.
With VISITAZIONI Gianfranco Pernaiachi compares publicly for the first time with visual
art and, almost paradoxically, this happens during the presentation of a Sound
Installation, which the author, more correctly, wanted to call "meditation room".
It is a "private" place that the viewer lonely, in a unique form of contact and dialogue
with the author and the work of art, is called to visit. A work that is sound in its
essence, but it looks from the point of view of memory, of suggestion, of the
recognition of that inner voice that all of us possess and that the author, through his
vision, wants us to listen.