«Lachenmann’s music forces the listener to confront and question their ingrained expectations from and responses to music, in an attempt to extend and further illuminate one’s powers of perception.» – Ian Pace, Musical Times. Helmut Lachenmann (born on November 27, 1935 in Stuttgart) studied piano, theory and counterpoint at the Music Conservatory in Stuttgart from 1955 to 1958 and from 1958 to 1960 composition with Luigi Nono in Venice. The first public performances of his works took place at the Biennale in Venice in 1962 and at the International Summer Courses for New Music in Darmstadt. After his teaching activity at the University in Ludwigsburg Lachenmann taught as professor for composition at the Music Conservatory in Hannover (1976–81) and in Stuttgart (1981–99). Furthermore he managed many seminars, workshops and master classes in Germany and abroad, for instance several times at the Summer Courses in Darmstadt between 1978 and 2006. In 2008 Lachenmann taught as Fromm Visiting Professor at the Harvard University, Cambridge/MA. 2010 he became fellow of the Royal College of Music, London. In addition, he has lectured in Argentina, Austria, Brazil, Canada, Chile, China, the Dominican Republic, France, Germany, Japan, Mexico, the Netherlands, Norway, Russia, Spain, Switzerland, and the USA. Among his honours are the Kulturpreis für Musik from the city of Munich (1965), the Kompositionspreis from the city of Stuttgart (1968, for Consolation I), the Bach-Preis der Freien und Hansestadt Hamburg (1972), the Ernst von Siemens Musikpreis (1997), the Royal Philharmonic Society Music Award for Chamber-Scale Composition (2004, for III. Streichquartett, ‘Grido’), the Berliner Kunstpreis from the Akademie der Künste in Berlin (2008), the Leone d’oro alla carriera from the Biennale di Venezia (2008), and the Verdienstkreuz 1. Klasse des Verdienstordens from the government of Germany (2010). He was later named Commandeur des Arts et des Lettres by the government of France (2012). He is a member of the Akademie der Künste in Berlin, the Bayerische Akademie der Schönen Künste in Munich, the Freie Akademie der Künste in Hamburg, the Freie Akademie der Künste Rhein-Neckar in Mannheim, the Freie Akademie der Künste zu Leipzig, and the Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten. He is the subject of several publications, including Helmut Lachenmann–Inward Beauty (2004, edited by Dan Albertson, Contemporary Music Review) and Helmut Lachenmann–Music with Matches (2005, edited by Dan Albertson, Contemporary Music Review), as well as the film …Wo ich noch nie war: Der Komponist Helmut Lachenmann by Bettina Ehrhardt (2006). Lachenmann is honorary doctor at the Music Conservatory Hannover. He has written numerous articles on aesthetics, many of which appear in the collection Musik als existentielle Erfahrung – Schriften 1966–1995 (1996, second edition 2004, edited by Josef Häusler, Breitkopf & Härtel). His works are performed at many festivals and concert series in Germany and abroad. His publisher is Breitkopf & Härtel.
Toivo Tulev (born on July 18, 1958 in Tallinn) is author of numerous orchestral, vocal and chamber works incl. instrumental concertos, symphony, cantatas and oratorios. He studied at the Estonian State Conservatory and at the Köln Hochscule der Musik under the supervision of Anti Marguste, Eino Tamberg and Hans-Ulrich Humpert and had private studies with Sven-David Sandström in Stockholm. At present he is pursuing his Ph.D. at the Estonian Academy of Music and Theatre. Four of his Works: Opus 21 for chamber orchestra (1996), Concerto for Violin and Orchestra (2002), Flute concerto Deux ( 2006) and I said, who are you, he said – You (2010), have been selected among the best 10 compositions at the International Rostrum of Composers in Paris and Barcelona. In 2001 and 2003 Toivo Tulev was awarded the Annual Prize of the Endowment for Music of the Cultural Endowment of Estonia, in 2002 he was awarded the Cultural Endowment’s Live and Shine grant and in 2006 he was awarded the Annual Music Prize of the Estonian Music Council. During the season 2004 -2005 he was composer-in-Residence at the Estonian Philharmonic Chamber Choir, and during the season 2007-2008 Composer-in-Residence at the Danish vocal ensemble Ars Nova. In 2015 Tulev received Fulbright Scholarship for a research project (Between the Audible and the Inaudible) at Dartmouth University. In 2016 Tulev was awarded the Lepo Sumera Prize. His collaborations include Estonian National Symphony Orchestra, Tallinn Chamber Orchestra, Estonian National Opera and Ballet Orchestra, Radio Kamer Filharmonie, Underholdnings Orkestret, Athelas Sinfonietta, NYYD Ensemble, Nieuw Ensemble, Atlas Ensemble, Court-Circuit, 2e2m, Tallinn String Quartet, Baltic Trio, Cyber Studio, Ensemble Sarband, Netherlands Chamber Choir, Estonian Philharmonic Chamber Choir, Ars Nova Copenhagen, Danish Radio Vocal Ensemble, Danish Radio Girls’ Choir, Musicatreize, Latvian Radio Choir, Estonian National Male Choir, The Crossing Choir, etc. He collaborated with conductors such as Paul Hillier, Tõnu Kaljuste, Daniel Reuss, Kaspars Putninš, Martyn Brabbins, Donald Nally, Olari Elts, Nikolai Aleksejev, Mikk Üleoja, Erik Jakobsson, Risto Joost, Ed Spanjaard etc. Tulev’s music is performed on a regular basis among others at NYYD Festival (Tallinn), Nuova Consonanza (Rome), Warsaw Autumn, Third Practice (Richmond, USA); Time of Music (Finland), Gaida (Vilnius), Arena (Riga), Oslo Church Music Festival, Vale of Glamorgan Festival (UK), Month of Modern (Philadelphia), Holland Festival, 20 Lieux sur la Mer (Marseilles), Young Euro Classics (Berlin), März Musik (Berlin), Ultima (Oslo), Sydney Spring. Toivo Tulev’s author CD-s have been released by Estonian Radio (“be lost in the call”, 2004) and Harmonia Mundi (“Songs”, 2008), his works are published by Theatre of Voice Edition. Toivo Tulev is currently Professor of Composition and Orchestration at the Estonian Academy of Music and Theatre and the Head of the Composition Department in the same Institute.
Amy Beth Kirsten’s music combines popular idioms with fierce expressionism and theatre and often requires musicians to play, vocalize, act, and move simultaneously. Her work is distinguished by an intense physicality that pushes players to extremes by making their bodies and voices instruments of artistic expression. Ms. Kirsten’s non-theatrical concert music has been programmed throughout the U.S. and the U.K. Most notable is World Under Glass No. 1 (2011) for five bassoons, which is her most regularly programmed chamber work to date. A composer, librettist, and vocalist, Ms. Kirsten begins the 2017-18 season in collaboration with the Chicago Symphony Orchestra’s MusicNOW series to create Savior, an evening-length work of composed theatre for three singers, flute, cello, percussion, lighting, and sound design. The work, a mystical re-telling of the life and trial of Joan of Arc, brings together musicians and artists from HOWL (Ms. Kirsten’s own ensemble) and players from the Chicago Symphony. Savior premieres April 2, 2018 at the Harris Theatre in Chicago. World premiere performances in 2017 of her most recent staged work, QUIXOTE, were the culmination of a 2-year residency at Montclair State University (NJ) with HOWL. This evening-length theatrical work inspired by Cervantes’ epic novel and performed by vocal trio and vocalizing percussion quartet, was described as “wildly inventive” by the New York Times. QUIXOTE was directed by Mark DeChiazza, a frequent collaborator who also directed her critically acclaimed Colombine’s Paradise Theatre – produced, premiered, and toured by the multi-Grammy-winning chamber ensemble eighth blackbird in 2013 and 2014. In 2014 Ms. Kirsten made her Carnegie Hall debut with strange pilgrims, a concert work for chorus, orchestra, and film commissioned by the American Composers Orchestra. She was also the inaugural Composer-in-Residence for London’s Riot Ensemble which gave the world premiere of she is a myth as well as the U.K. premieres of several of her solo and chamber works. She has been recognized with artist fellowships from the John S. Guggenheim Foundation and the Rockefeller Foundation. Most recently she received the Leonard Bernstein Award from ASCAP. Educated at Roosevelt University (MM) and the Peabody Institute (DMA), Ms. Kirsten is co-founder and director of HOWL, a modular new music ensemble that specializes in instrumental and vocal theatre. In 2014, HOWL’s record label, Bad Wolf Music, released its first recording, If this world could stop… Upcoming releases include paper and ink, the first CD of Ms. Kirsten’s solo and chamber works. Her music is also recorded on the Parlour Tapes+ label. Ms. Kirsten grew up in the suburbs of Kansas City, Missouri and Chicago, Illinois. After living for seven years in Baltimore, MD she now lives with her husband, Christopher Theofanidis (also a composer), in New Haven, Connecticut and teaches music composition privately and, for the past seven years, at the highSCORE summer festival in Pavia, Italy. In fall of 2017, she joins the faculty of the Longy School of Music of Bard College in Cambridge, MA, and previously served on the composition faculty at the Peabody Institute of the Johns Hopkins University during the 2015-17 academic years.
Composer Sarah Kirkland Snider’s works have been commissioned and performed by the New York, San Francisco, Detroit, Indianapolis, and North Carolina Symphonies; the Residentie Orkest Den Haag, American Composers Orchestra, and St. Paul Chamber Orchestra; percussionist Colin Currie, violinist Anne Akiko Meyers, and vocalist Shara Nova; and The Knights, Ensemble Signal, yMusic, and Roomful of Teeth, among many others. Her music has been heard at Carnegie Hall, Lincoln Center, and the Kennedy Center, and at festivals including Big Ears, BAM Next Wave, Cross-linx, Aspen, Ecstatic, and Sundance. Her two orchestral song cycle records, Penelope (2010) and Unremembered (2015), graced Top Five lists on NPR, The Washington Post, The Nation, and Time Out New York. Upcoming projects include a mass for Trinity Wall Street Choir/NOVUS NY, a ballet with choreographer George Williamson for the Birmingham Royal Ballet, and an opera co-commissioned by Beth Morrison Projects and Opera Cabal. The winner of Detroit Symphony’s 2014 Elaine Lebenbom Award, Sarah’s music has also been supported by the National Endowment for the Arts, New Music USA, Opera America, the Sorel Organization, and the Jerome Composers Commissioning Fund. A co-founder and co-artistic director of Brooklyn-based non-profit New Amsterdam Records, Sarah has an M.A. and A.D. from the Yale School of Music and a B.A. from Wesleyan University. Her music is published by G. Schirmer.
Christopher Theofanidis (born 12/18/67 in Dallas, Texas) has had performances by many leading orchestras from around the world, including the London Symphony, the New York Philharmonic, the Philadelphia Orchestra, the Atlanta Symphony, the Moscow Soloists, the National, Baltimore, St. Louis, and Detroit Symphonies, among many others. He has also served as Composer of the Year for the Pittsburgh Symphony during their 2006-7 season, for which he wrote a violin concerto for Sarah Chang. Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the International Masterprize, the Rome Prize, a Guggenheim fellowship, a Fulbright fellowship to France to study with Tristan Murail at IRCAM, a Tanglewood fellowship, and two fellowships from the American Academy of Arts and Letters. In 2007 he was nominated for a Grammy award for best composition for his chorus and orchestra work, The Here and Now, based on the poetry of Rumi, and again in 2017 for his bassoon concerto. His orchestral work, Rainbow Body, has been one of the most performed new orchestral works of the new millennium, having been performed by over 150 different orchestras internationally. Mr. Theofanidis’ has written a ballet for the American Ballet Theatre, a work for the Orpheus Chamber Orchestra as part of their ‘New Brandenburg’ series, and two operas for the San Francisco and Houston Grand Opera companies. Thomas Hampson sang the lead role in the San Francisco opera. His work for Houston, The Refuge, features six sets of international non-Western musicians alongside the opera musicians. He has a long-standing relationship with the Atlanta Symphony and Maestro Robert Spano, and has four recordings with them, including his recent concert length oratorio, Creation/Creator, which was featured at the SHIFT festival at the Kennedy Center in Washington, D.C. this year with the ASO, chorus, and soloists. His work, Dreamtime Ancestors, for the orchestral consortium, New Music for America, has been played by over fifty orchestras over the past two seasons. He has served as a delegate to the US-Japan Foundation’s Leadership Program, and he is a former faculty member of the Peabody Conservatory of Johns Hopkins University as well as the Juilliard School. Mr. Theofanidis is currently a professor at Yale University, and composer-in-residence and co-director of the composition program at the Aspen Music Festival, and he formerly was the director of composition at the highSCORE festival in Italy.
Dmitri Tymoczko (born 1969, Cambridge, Massachusetts) is a composer and music theorist who teaches at Princeton University. His book A Geometry of Music (Oxford) has been described as “a tour de force” (The Times Literary Supplement), a “monumental achievement” (Music Theory Online), and, potentially, a modern analogue to Schoenberg’s Harmonielehre (The Musical Times). His two CDs, Beat Therapy (“far reaching yet utterly entertaining,” Newmusicbox) and Crackpot Hymnal (“ebullient … polystylistic … kinetic … vividly orchestrated and vibrantly paced,” Sequenza21), are available from Bridge Records. A third CD, Rube Goldberg Variations, will appear in 2017. The author of the first music-theory article ever published by Science magazine, he has received a Rhodes scholarship, a Guggenheim fellowship, and additional prizes from the American Academy of Arts and Letters, the Radcliffe Institute for Advanced Study, Tanglewood, the Society for Industrial and Applied Mathematics, and others. His music, which often draws on jazz and rock, has been performed and commissioned by groups including the Amernet Quartet, the Atlantic Brass Quintet, the Brentano Quartet, the Corigliano Quartet, Flexible Music, Gallicantus, the Gregg Smith Singers, the Illinois Modern Ensemble, Janus Trio, the Kitchener/Waterloo symphony, Network for New Music, Newspeak, Pacifica Quartet, Synergy Vocal Ensemble, Third Coast Percussion Quartet, and Ursula Oppens.
Composer and computer scientist. Executive Director of the highSCORE New Music Center since 2006. President of the “F. Vittadini” Higher Institute of Music Studies of Pavia from 2010 to 2013. Selected by the European Commission in Brussels as Expert both in the MEDIA and in the Culture programs. Currently, Global Head of Contents at Campus Party, the greatest technological experience of the world which brings together young geeks in a festival of innovation, creativity, science, entrepreneurship & entertainment. As a passionate Entrepreneur, he invests in marketing and technology. Recipient of the “Ivano Becchi” Professional Award endowed by the Banca del Monte di Lombardia Foundation. Keyboardist and composer for the rock band Armonite.
Giovanni Albini (born 1982, Pavia, Italy), composer, is professor of Music Theory at the Conservatory “J. Tomadini” of Udine (IT), lecturer of Music Informatics and Composition related disciplines at the “F. Vittadini” Higher Institute of Music Studies (IT), lecturer of Music Analysis at the Conservatorio della Svizzera Italiana (CH), member of the Istituto di Studi Superiori dell’Insubria “Gerolamo Cardano” and PhD student in Music Composition at the Estonian Academy of Music and Theatre in Tallinn, researching on mathematically informed aesthetic theories of music composition. He is also former professor of Composition, Harmony and Counterpoint at the Conservatory “C. Monteverdi” of Bolzano, of Music Theory and Computer Music at the Conservatory “F. A. Bonporti” of Trento, of Mathematical Music Theory at the “F. Vittadini” Higher Institute of Music Studies, of Music Theory at the Conservatory “G. Verdi” of Ravenna, and at the “O. Vecchi – A. Tonelli” Higher Institute of Music Studies of Modena where he has also been head of the Music Theory Department. His theoretical research focuses on mathematically informed aesthetic theories of music composition, mathematical music theory and its application to composition and he devoted himself with special interest to soundtracks for interactive media, music AI and non linear composition systems. He has given several lectures at many universities, conservatories and institutions including Yale University (USA), Universidad Nacional Autónoma de México (MX), Open University (UK), Lithuanian Union of Composers (LT), Università degli Studi di Milano (IT), Biennale di Venezia (IT), etc. He studied Composition at the Conservatory of Lugano and at the “G. Verdi” Conservatory of Milan, achieving a maximum marks ‘Diploma di I livello’ (BM) and a cum laude ‘Diploma di II livello’ (MM). He subsequently received a ‘Diploma di Alto Perfezionamento’ (PgD) in Composition at the prestigious Accademia Nazionale di “Santa Cecilia” in Rome and he also received a BS and a MS in Mathematics and a ‘Diploma’ (MM) in Classical Guitar. His tracks have been commissioned and used by international brands such as Giorgio Armani, Alfa Romeo, Diesel, BMW, Dovetail Games and Touring Club. He devoted himself with special interest to soundtracks for interactive media: his soundtracks for Mattia Costa’s live films (winner of the Nastro Azzurro Video Talent Award of the Milano Film Festival) are worth of notice. In addition his concert scores have won several composition prizes and have been performed by international soloists, ensembles, and orchestras around the world (Europe, USA, Canada and Japan). Two monographic CDs compiling his most significant chamber, orchestral and sacred scores, “Musica Ciclica” and “Musica Sacra” has been published by Brilliant Classics and distributed worldwide (in the USA by Naxos America). He is the founding Artistic Director of the highSCORE New Music Center and of the highSCORE Festival today’s principal Italian Contemporary Music Festival offering masterclasses. He wrote about classical and contemporary music in the “Intelligence and Lifestyle” section of the Italian magazine “Il Sole 24 Ore”, the leading italian financial newspaper, and he runs “Perle di Vetro”, a contemporary music column for “Il Corriere Musicale”.
Born in Moncalieri, Alberto Barberis is an Italian composer, guitarist, performer and music researcher. He is professor of Technology and Modern Music at the “Conservatorio della Svizzera Italiana” of Lugano from September 2017. He began playing classical guitar at a young age, studying, among others, with Maurizio Colonna, Giorgio Mirto and Bruno Giuffredi. He got the Diploma in classical guitar at the Conservatory of Turin (IT) and the Master’s degree in classical guitar at the Conservatory of Brescia (IT). Alongside his musical activity, he undertook Engineering Studies (in the field of Information Technology and Media) at the Polytechnic of Turin, that stimulated his interest for mathematical applications in musical composition and electronic music. Therefore he studied composition with Giovanni Albini, mathematician and composer. Since 2012 he is the Assistant Artistic Director of highSCORE New Music Center and from 2016 he is part of the artistic committee of OGGIMUSICA. He is also part of FloatingForest Record, a label and a collective of improvisation and experimental music. In July 2016 he obtained with honors the Master of Arts in Composition and Theory at the Conservatorio della Svizzera italiana of Lugano (CH), where he studied with Nadir Vassena and Giovanni Verrando. Recently he collaborated with several contemporary music ensembles including the Ensemble Recherche (DE), the Eutopia Ensemble (IT), and he took part in many international music festivals, such as OGGIMUSICA (CH), Nachtstrom (CH), Maggio Elettrico – Tempo Reale (IT). Alongside his artistic activity (as composer, guitarist, improviser and sound engineer) he develops music software: such as tiascolto (a ear-training application) and Ormé (a spatialization software – presented at CIM XIX). In 2016 he won the Werkjahr 2017 of the foundation Christoph Delz (Basel – CH), with a research project on the interaction between orchestral instruments and electronic devices: Magnifyinglass.
Giovanni Cestino, born in 1992, holds a degree cum laude in Classical guitar from Conservatory of Alessandria (2010) and a master degree cum laude in Musicology from University of Pavia (2014). He is currently a PhD candidate at the University of Milan (Department of Cultural Heritage and Environment). Since late 2017 he has been appointed as Collaborator of the Centro Studi Luciano Berio (Florence). In 2017 he also took part in two projects by the Paul Sacher Stiftung (Basel) dedicated to unpublished works by Pierre Boulez and Cathy Berberian. He collaborated with several publishers and record labels like Edizioni Suvini Zerboni, Bérben, Zecchini, Consonarte and Toccata. Musical texts and textuality lie at the core of his musicological interests, which are carried out on two parallel sides. On one hand he focuses on Italian music of the second half of the XX Century, with editorial projects dedicated to various composers (among them M. Barbieri, C. Berberian, C. Mosso, C. Togni). On the other he investigates annotated scores by XX Century performers, towards defining a methodology of analysis of such sources.
Besides his musicological activity, he continues his studies in composition and conducting with Paolo Ferrara and in lute with Massimo Lonardi. Since 2014 he permanently conducts the Choir of the Faculty of Musicology (Cremona). As a conductor he premiered various works by contemporary composers like G. Albini, A. Barberis and M. Benetti, and first modern performances of works by B. Maderna and C. Mosso.
Paolo Girol (1972, Venice, Italy) studied mandolin and classic guitar with Livio Marcolin and attended master classes with Emanuele Segre and Alvaro Pierri and studied Computer Science with Andrea Sgarro at the University of Trieste. He has got two A. A. degrees: “Sound Engineer” and “Sound Recording Techniques for Musicians”. He obtained his Bachelor Degree in “Music and New Technologies” from Academy of Music of Trieste and his Master Degree in “Audio Visual Composition” from the same institution. At the moment he is completing his PhD at the Composition Department of Estonian Academy of Music, Tallinn, Estonia. His interest is the hybridization of different artistic languages. His works have been played nationally and internationally, they have been selected to several festivals/conferences and they have been awarded with national and international prizes such as First Prize in “Multimedia & Musical Arts” for Best Italian Digital Composition in Musical Field 2006 and First Prize “Work for multimedia”, International Competition of Electroacoustic Music and Sonic Art 2005, IMEB, Bourges, France. He teaches “Sound Design” at the Baltic Film School, Tallinn, Estonia, and “AudioVisual Composition” at the Estonian Academy of Music, Tallinn, Estonia.
Riccardo Lorenzetti was born in Osimo, Italy, in 1970. He graduated in Piano and Choral Music at the Conservatory “F. Morlacchi” of Perugia and in Organ, Harpsichord and Composition at the Conservatory “G. Rossini” of Pesaro, and then attended post-graduate courses with Ton Koopman, Gustav Leonhardt, Lorenzo Ghielmi, Stephen Woodbury, Piergiorgio Righele and Vincenzo Torre. As a conductor, harpsichordist and organist he has worked with many orchestras and chamber ensembles and choirs. In the baroque field he has an intense international concert activity with Accademia dei filarmonici di Maiolati and I servi di Maria. Since 1985 he is the Organist at the Cathedral in Osimo and since 1991 he is the A. Conductor of Borroni Choir, with which he has held many concerts and has recorded “ Messa di Requiem in Do minore” by Alessandro Borroni, performing it in a world première. In 1993, thanks to his profound interest for Renaissance music, founded and conducted, vocal group “Spirti Beati”, taking part as tenor as well, and publishing many CDs. In the vocal field, he sang as Tenor soloist in Gregorian Choir of Conservatory of Pesaro and in Collegium Vocale “Crypta Canonicorum”. He is also an active and prolific composer. Among his works: oratorio “Il ritorno di Paolo – primo missionario cristiano”, musical “Ho sognato di volare”, rock opera “Il gabbiano Jonathan Livingston” and many other masses, mottetti, orchestral works, chamber music works, solo works, arrangements and transcriptions. His work is distinguished by a vaste output which presents a wide variety of musical genres and styles. He currently teaches Choir at the Conservatory of Rodi Garganico, Organ and Composition at Civica Scuola di Musica di Osimo and Renaissance and Baroque Singing at the Accademia Internazionale d’Arte lirica in Osimo. Following his passion for music in its many faces and styles, in 2009 he joined punk-rock band “Io e i Gomma Gommas” as bassist and singer, giving many concerts throughout all of Italy, recording many CDs and taking part to numerous TV and radio shows.
Quartetto Indaco (Eleonora Matsuno, Jamiang Santi, Francesca Turcato and Cosimo Carovani) was formed at the Scuola di Musica di Fiesole in 2007, thanks to the encouragement and help of Piero Farulli and Andrea Nannoni. Subsequently, the ensemble participated in master classes with numerous internationally renowned quartets including the Artemis, Brodsky and Prometeo Quartets as well as in specialized courses with members of great quartets such as Milan Skampa-Smetana Quartet, Hatto Beyerle-Alban Berg Quartet, Rainer Schmidt-Hagen Quartet and Krzysztof Chorzelski-Belcea Quartet. Quartetto Indaco is currently pursuing a Master’s Degree in chamber music at the Musikhochschule of Hannover under the guidance of Oliver Willie, member of the Kuss Quartet. The quartet has performed on concert series’ and festivals throughout Italy including a performance at the Palazzo del Quirinale in Rome (which was broadcast throughout Italy by Rai Radio 3), as well as in festivals such as “Aosta Classica”, “Festival dei due mondi” in Spoleto and “Festival della creativitа” in Florence and Prato”. They have appeared in various European countries including Ireland (Dublin and Galway), Latvia (Riga and Jurmala), Germany (Podium Festival in Essen, Hannover and Bad Pyrmont), Sweden (Stockholm and Vдnersborg), and Holland (The Hague and Kerkrade). Since 2017 the quartet is participating to the project Le Dimore del Quartetto in collaboration with ADSI and Associazione Piero Farulli. Finalist at the prestigious string quartet competition “Premio Paolo Borciani” XI edition, the quartet has won several prizes in international competitions including the “Premio Papini” and “Enrica Cremonesi”. In 2014, they were the recipients of the special prize “Jeunesses Musicales” at the X edition of “Premio Paolo Borciani”. The quartet has performed with many illustrious international artists, including the pianists Bruno Canino and Carlo Balzaretti, Davide Formisano, Paolo Beltramini (solo clarinet of the Orchestra della Svizzera Italiana) as well as Valentin Erben, the cellist of the Alban Berg Quartet with whom, in 2012, they performed the quintet for two cellos by Schubert. Quartetto Indaco is also dedicated to contemporary music with the goal of giving a voice to new musical language: In this regard they were awarded with “Premio Giuseppe Scotese” as best performer during the 53rd edition of ‘Festival Nuova Consonanza’ in Roma; as well Quartetto Indaco is ’ensemble in residence’ at the ‘International HighScore Festival’ of Pavia since 2010. The quartet has received enthusiastic and glowing reviews from many music critics. The Ttela Newspaper of Sweden wrote “their performance is like a stupefying show of fireworks, so brilliant that the walls could hardly contain it”. Il Giornale di Vicenza describes the quartet as “compact, full of polish and exuberance, a real revelation. The Quartetto Indaco shows lucid precision, concentration and great ability”.
The Mythos Trio is formed by three young musicians (Giuliano Cavaliere, violin; Rina You, Cello; Marios Panteliadis, piano), coming from three different countries (Italy, Greece and Korea), who graduated from the Conservatory “Santa Cecilia” in Rome and have pursued their musical studies at the Accademia Nazionale di Santa Cecilia in Rome. As a trio, they attended the chamber music course held by Trio di Parma at the Music School of Fiesole (Florence). The members of the Trio have completed their musical studies with renowned Italian performers and teachers such as: Sergio Perticaroli, Aldo Ciccolini, Sonig Tchakerian, Felix Ayo, Giovanni Sollima, Francesco Strano. They have won prizes in several International competitions and they have also performed with great artists and conductors. The Mythos Trio debuted in March 2012 in the prestigious Academic Hall of the Conservatorio “Santa Cecilia” in Rome, honoured by the presence of the composer Domenico Bartolucci, which was performed the Piano Trio. In April 2012, they performed in two concerts in the United States of America (at the renowned Oberlin College and in Washington), achieving a resounding success. Awarded at the International Competition “Rospigliosi”, the Trio has performed many concerts in Italy at prestigious concert seasons: “Amici della Musica” of Trapani and Syracuse, “Associazione A. Mariani” of Ravenna, “Associazione Musicale Etnea” of Catania, “Filarmonica Laudamo” of Messina, Ravello Concert Society, “Toscana Classica” of Florence, “Università della Tuscia” of Viterbo. The Mythos Trio has also invited to perform at various festivals: Jeux d’Art of Tivoli (in prestigious Villa d’Este), Musica Insieme Panicale, and others: particularly significant was the participation at the Victoria International Arts Festival in Malta, which garnered particularly favourable acclaim by critics, and concert tour in Greece (may 2016), where the Trio has performed in different cities (Athens, Trikala, Karditsa and Palamas). The trio’s constantly expanding repertoire pays special attention to contemporary and XXth- Century music.
unassisted fold is a german-italian duo formed by flutist Sonja Horlacher and guitarist Flavio Virzì playing acoustic and electronic music. Their interest for diversity and contaminations brings them to collaborate with composers and multimedia artists from different areas. They have been invited to perform in new and experimental music festivals, art galleries, squats and museums such as: curva minore contemporary sound (IT), Euro microfest (D), Kaskadenkondesator (CH), Historisches Museum Frankfurt (D). Their recordings are released by Limit cycle records and Classwar Karaoke.