Mario Stefano Pietrodarchi has carved a singular space in the world of music with the bandoneón. Backed by the SOI Chamber Orchestra, the Italian virtuoso will take audiences on a journey celebrating the music of Italian cinema and the passion of tango.
By Beverly Pereira
When Mario Stefano Pietrodarchi steps on stage, he doesn’t just perform. He turns the music he chooses for the evening into a gripping story with the bandoneón, a hand-held, bellows-driven instrument that he commandeers with aplomb. His artistry shines through while interpreting Argentine composer Astor Piazzolla’s tango compositions, and when he performs contemporary compositions dedicated to him by Italian composers. So how did this Italian virtuoso come to master the iconic Argentinian instrument?
From Germany to Latin America
The bandoneón was invented in the mid-19th century by German instrument dealer Heinrich Band as a portable alternative to the church organ. Fast adopted in Central European folk and sacred music, it wasn’t long before it made its way to Argentina via immigrating Europeans in the late 19th century. Soon, this compact German invention became a symbol of Argentine cultural identity, particularly in the working-class neighbourhoods of Buenos Aires. The tango was also born around this time. And the distinctive, melancholic sound of the bandoneón became central to tango ensembles in Argentina’s capital.
Like the accordion, its predecessor, the bandoneón belongs to the reed organ family. However, unlike the former, with its piano-style keyboard, the bandoneón has a more complex design with buttons on both ends.
Championed by the legendary Argentinian bandleader, composer, arranger and tango performer Aníbal Troilo, the haunting strains of this instrument echoed loudest in tango halls, or milongas, of 20th-century Buenos Aires. The legendary Piazzolla, whose grandfather had immigrated from Italy in the 19th century, played the bandoneón and arranged for Troilo’s orchestra between 1939 and 1944. Then, in 1969, with its powerful blend of jazz and classical elements, Piazzolla’s Fugata revolutionised the traditional tango, birthing a style that would eventually come to be known as nuevo tango. Showcasing the bandoneón’s vast expressive range, Piazzolla’s interpretation of the genre secured its place on concert stages across the world. His successors have since pushed the vintage instrument into new musical territories, inspiring a new generation of musicians.
A journey of artistic evolution
Pietrodarchi’s journey with the bandoneón began with Piazzolla’s compositions, but more specifically with an accordion Pietrodarchi found in his grandfather’s house at the age of nine. “I remember the accordion being a very beautiful instrument. I couldn’t wait to play at a professional level. My grandmother always urged me to practise, even as all my friends tried to get me to go outside and play football or go cycling. She would emphasise the importance of practice to achieve a high level of playing. I’m grateful for my grandmother and family who gave me the opportunity to study the instrument,” says the 1980-born musician, who continues to play and teach the accordion.
Pietrodarchi grew up in Atessa, a small town in the Abruzzo region of southern Italy. He went on to study at the F. Fenaroli Civic Music school in Lanciano from 1993 to 2001, attending advanced masterclasses with international instructors like Jacques Mornet and Yuri Shishkin. He would later graduate with honours from Accademia Nazionale di Santa Cecilia in Rome in 2007.
During this time, Pietrodarchi won many awards, including the 2001 World Trophy C.M.A (Senior) in Lorient, France. “Until this period, I had concentrated on solo accordion and was dedicated to classical music like Bach and contemporary music. I wasn’t focused on concerts or creating repertoire,” he says. It was only when he turned 20 years old that the bandoneón came into play. “When I won in France, I started to think about a new repertoire, which, of course, had to include Piazzolla. My first concert as a soloist was with the International Orchestra of Italy in China and they wanted me to play the bandoneón with the orchestra. It was a wonderful feeling to be able to convey the emotion that Piazzolla wrote.”
A repertoire rooted in tradition
Guitarist Pat Metheny comes a close second among Pietrodarchi’s early musical influences. “After Piazzolla, it is Metheny for his music and quality of sound. It is my mission to create a new and recognisable sound. It’s not so much about how complex the instrument or the music is, as it is about how recognisable your sound is to people,” he says.
A strong advocate of Italian musical traditions, Pietrodarchi remains deeply connected to his roots, frequently returning to Italian conservatories to teach, mentor and perform. He also performs the works of contemporary Italian composers who write new music for him. “I’m Italian and I wanted to create a sound with an Italian touch. The first piece written for me was by Andrea Scarpone in 2010, which I played at a concert in Minsk with the Belarusian State Chamber Orchestra. From that moment on, I knew that the collaborations I enjoy with Italian composers run deep.”
Pietrodarchi’s technical virtuosity and musical expression have taken him to prestigious stages, including the Montreal Jazz Festival in 2006. Over the years, he has become known for celebrated collaborations. His first time performing with Andrea Bocelli was at a 2009 concert at the Colosseum in Rome with the Abruzzese Symphony Orchestra in aid of Abruzzo earthquake victims. He has also recorded a DVD with the Italian tenor in Portofino. Although he admits that he shines best on the bandoneón paired with strings and symphony orchestras, he remains engaged in many projects featuring guitar, piano and clarinet.
The pulse of passion
This month, Pietrodarchi will take centre stage as a soloist with the SOI Chamber Orchestra in a special concert in collaboration with Istituto Italiano di Cultura di Mumbai. “I was invited by Marat Bisengaliev last year, but was unable to perform due to my schedule,” says the instrumentalist who has played in 75 countries, including Iran this year, and Central Asian nations like Kazakhstan and Uzbekistan in the past. Bisengaliev, Artistic Director, SOI, has long believed that it is a must for Mumbai to have access to Pietrodarchi’s charisma and genius.
The programme for the evening is called A New Dolce Vita with the first part of the concert dedicated to the Italian film composer Ennio Morricone, which will feature music from three soundtracks composed by him—Cinema Paradiso, The Mission and Once Upon a Time in the West. “We will then move on to Giovanni “Nino” Rota Rinaldi in a homage to filmmaker Federico Fellini through music from his famous movies like La Dolce Vita, Amarcord and Otto e Mezzo. The third piece will be by Italian composer Roberto Di Marino’s Suite Mediterranea in three movements— Meditation, Eolia and Tango Trentino. “Then we arrive in Buenos Aires as we play Piazzolla’s most famous pieces like ‘Oblivion’, ‘Soledad’ and ‘Adiós Nonino’,” says Pietrodarchi, who will play both the accordion and bandoneón.
Says Bisengaliev about the experience that awaits concertgoers this September, “There is no need for a conductor because Pietrodarchi is such an incredible character, he will absolutely shine onstage.”
This article was originally published in the September 2025 issue of ON Stage.
