I met Fausto Romitelli in the early Eighties, while he was still studying composition with Umberto Rotondi at the Conservatory in Milano. Though he was very young, he already showed the signs of a strong and unconventional personality. In a morespecific way, besides a very strong bias towards instrumental experimentation, I was impressed by his irresistible urge to explore routes that are unrelated or even contradictory with reference to the rules resulting from the styles and aesthetics ofstruc