Giuseppe Bonaccorso sits in his studio, surrounded by well-worn music sheets and dog-eared copies of Dante’s Inferno. The Italian composer, born in Caltagirone in 1979, speaks with a quiet intensity about his latest album, occasionally pausing to illustrate a point with a brief guitar phrase. The room itself, filled with instruments, books, and digital equipment, reflects the duality of his artistic and technical mind—a place where centuries-old classical tradition collides with the boundless possibilities of modern sound experimentation.
“I’m attracted to atonal, avant-garde, and highly experimental music,” he says, running a hand through his hair. “Unfortunately, mainstream culture is very closed, and too many listeners are used to specific patterns.”
This resistance to conventional forms defines Bonaccorso’s approach. A classical guitarist by training, he abandoned the electric guitar after being “shocked” by performances from masters like John Williams and Eliot Fisk. “I sold my electric guitar, which I considered almost useless, and bought a cheap classical one,” he recalls with a slight smile. That decision marked a turning point, setting him on a path that would merge disciplined technique with a relentless curiosity about breaking musical boundaries.
Though his journey in music began with classical training, Bonaccorso’s path has been anything but traditional. His background in Electronics Engineering and his master’s degrees in Business Administration and Data Science might seem at odds with his artistic pursuits. Yet after years in high-level managerial positions, he made the leap to full-time artistic work. It was a decision that required courage and conviction, but for Bonaccorso, it was necessary to fully explore the intersection of sound, philosophy, and emotion.
The relationship between his technical background and artistic output creates a unique tension in his work. His engineering precision informs structured compositions, while his poetic sensibility ensures they never feel mechanical or calculated. This duality defines his unique approach. His compositions are not merely a collection of notes but a meticulous construction of complex ideas that challenge conventional boundaries.
“Art is not based on islands,” he says, gesturing broadly. “It’s the most extensive continent, where everyone can move from land to land without effort. It’s a spiritual journey that shifts from creation to creation to expand one’s mental boundaries.”
This philosophical approach permeates his work across multiple media. Beyond his musical compositions, Bonaccorso has published several poetry books and won numerous literary awards. His poetic style, described as ‘hermetic’ and ‘colorful’, complements his musical output, creating an artistic vision that transcends individual forms. His ability to move seamlessly between literature and music makes him a rare artist—one who crafts a unified aesthetic experience rather than simply switching between disciplines.
His latest album, Enemies in Love, released in February 2025, exemplifies this boundary-crossing approach. The collection explores the duality of good and evil through what Bonaccorso describes as an “enigmatic” mood. The album moves from the reverent “Pater Noster” to works inspired by Italian poet G. Carducci, suggesting that apparent opposites may in fact be deeply interconnected. The notion of conflict, tension, and ultimate unity plays a significant role in both his music and literary work.
Other notable works in his repertoire reveal his range: the devotional “Ave Maria,” the provocative “Miserére,” the experimental “Luminescence,” and the contemplative “On a Solitary Beach.” Each piece is carefully designed to evoke emotion, challenge perception, and invite the listener to reconsider their understanding of music itself.
When asked about his current projects, Bonaccorso becomes animated. “I’m composing a soundtrack for Dante’s Inferno,” he explains. “I want to describe the atmosphere of each character with a musical theme, based on strings, piano, and guitar.” This ambitious project aims to bring the epic poem to life through sound, allowing audiences to experience its themes in a way that transcends language. The use of atonality and experimental sound design is particularly well-suited to capturing the nightmarish landscapes of Dante’s underworld.
Bonaccorso acknowledges the challenges his work presents to listeners accustomed to mainstream music. “Whenever certain familiar patterns are not present, somebody might feel ‘lost’ and stop listening,” he says. “This is always a shame, because there’s much extraordinary music out there that is discarded in favor of meaningless songs based on the same simple structures.”
His advice to listeners is straightforward: “Look around and never remain stuck with a genre, thinking that all other music will be useless once something pleasant has been found.” His mission is not to appeal to mass audiences but to cultivate a niche of listeners willing to challenge themselves, willing to explore music as an intellectual and emotional experience rather than just passive entertainment.
Despite his countercultural stance, Bonaccorso’s collaborative aspirations reveal another dimension to his musical vision. When asked about dream collaborations, he names violinist Caroline Campbell and vocalist Andrea Bocelli—established artists who might help bridge the gap between his experimental approach and broader audiences. The idea of working with musicians from more mainstream backgrounds does not contradict his artistic philosophy; rather, it presents an opportunity to expand the reach of his vision without compromising its integrity.
For those interested in exploring Bonaccorso’s work, his music is available on Spotify, SoundCloud, and YouTube, with additional information on his website and social media (X, Instagram). Each platform offers a different window into his world, from full compositions to snippets of his creative process, where fans can engage with his art.
In a modern scene increasingly dominated by algorithms and simplified streaming formats, Bonaccorso’s commitment to artistic complexity feels both rebellious and essential. His unwavering dedication to his craft—whether exploring experimental structures or challenging listeners to step outside their comfort zones—stands as a quiet reminder that art often flourishes most vibrantly at the edges of convention. As he returns to his work on the Dante’s Inferno project, guitar in hand, one gets the sense that for Bonaccorso, the boundary between musician and composer, poet and engineer, has always been more permeable than most people imagine. His journey is far from over, and for those willing to listen, the rewards are boundless.
