If it is true, as written by Pierre Boulez, that “The year 2000 is approaching without having been dissipated the distrust of twentieth century art” , is nevertheless also true that contemporary composers have won in recent years an increasingly wide attention and consideration and, probably, with the approach of 2000 will be gratified by a large consensus. Stefanía Amedeo he addressed the problems of study, interpretation and implementation of modern and contemporary authors’ works, Messiaen, Stravinsky, Martinu, Ligeti, Berio, Sciarrino, through the troubled path of new music. the writing of contemporary authors is read with careful analysis that leaves nothing to interpretation randomness. After all the originality, which is a given connotative musical art of the 1900s, is almost never separated from technical severity and often from recovery and the quote of classic experiments, with twists and turns that keep a continuity with the past greater than that that the formal diversity and the sound and harmonic research could indicate that. also in this case it is true to say Boulez: “There is a report in the contemporary creation with tradition” . Stefanía Amedeo perceived particularly happy outcome the evolution of the modern pianism pursued by contemporary composers, inserting in its repertoire some of the most significant works for piano performance cited authors. Also he inserted in the works for a speedy execution “Concerto for Piano and Orchestra No.2 in F major Op.102” by D. Shostakovich.