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četrtek, 26. marec 2009

21:00 - Defonija
MARCO CAPPELLI (Italija/ZDA)

http://www.marcocappelli.com/

"Eight years ago, John Zorn's Book of Heads compositions helped me to rehear the guitar. Now Marco Cappelli's rendering of these pieces has allowed me to rehear John Zorn's Book of Heads. In every piece on this cd, Cappelli labours mightily and successfully to drag the classical guitar into the 21st century. You can hear his committment. Oh, I almost forgot to mention: he's also managed to make this music beautiful."
Marc Ribot

 
 
SLO
 
Marco Cappelli se je rodil v Neaplju leta 1965. Po poklicu je klasični kitarist, ki igra novo muziko, se pravi tisto, kar v svetu umetne glasbe največkrat zaznamuje dvoumni izraz »sodobna glasba«. Njegova glasbena pot je odklon – vsaj za naše prilike – od utečenih poti in nazoren zgled, kako na drugačen način z odpiranjem navzven postajaš poklicni »resni« glasbenik ob koncu 20. stoletja in na začetku tega stoletja. Je zgled oddaljevanja od akademske zaprtosti v krasni novi svet. Marcu je uživanje v senci finančno in institucionalno dobro podmazane samozadostnosti in gojenja varljivega samoljubja nekaj povsem tujega.
 
"Z igranjem klasične kitare sem začel precej pozno. Kitaro sem igral od desetega leta, ampak ne resno. Igral sem v rock bendih, poskusil blues, pisal komade, vse, kar počneš, ko si najstnik. Kitara je bila družabno glasbilo. Ni bilo žura brez kitarista, ki je zraven kaj zabrenkal in odpel. Ob koncu sedemdesetih in začetku osemdesetih sem bil povsem predan folku. Folk scena na jugu Italije je bila levičarska. Bila je zveza med muziciranjem in politično držo. Igral sem z različnimi bendi, nastopal na festivalih. Sčasoma sem se odločil za študij klasične kitare, predvsem zato, ker je bilo to edino, kar sem lahko študiral na konservatoriju. Izhajam iz družine srednjega razreda. Nisem hotel na univerzo, pri tem so me starši podpirali, toda vseeno sem nekako moral na konservatorij v Rim, končati vsaj kak študij. Od začetkov študija klasične kitare me je bolj zanimala sodobna glasba, glasba 20. stoletja."
 
Študij kitare v Rimu je končal leta 1989, kar je po veljavnih standardih v "svetu klasične kitare" relativno pozno za glasbenika, ki goji upanje za koncertno kariero. Toda Cappelli si je o tem svetu ustvaril drugačno sliko.
 
"Klasična kitara je zelo mehansko glasbilo. Na voljo so tehnična orodja, ki jih lažje osvojiš in nadgrajuješ v mladih letih. ?eprav jih lahko v kateri koli starosti. Ko tehniko osvojiš, lahko greš naprej. Reciva, moja današnja tehnika je dovolj dobra za zmago na mednarodnih profesionalnih tekmovanjih. Ko sem bila star 25 let, nisem bil toliko tehnično dober. Priznam, da me je to takrat frustriralo, nisem mogel ravno oblikovati dobrega solističnega nastopa in repertoarja, zato sem raje več igral s komornimi ansambli. Bil sem osamljen. Še nekaj, svet klasične kitare – in mislim resno – zaudarja in je nemogoč. Gre za gručo fanatikov, ki jih zanima le hitrost dela rok. V njem je zelo malo občutka za glasbo, za razbiranje pravega pomena."
 
Intelektualno usmerjenega študenta so zanimali raziskujoči glasbeni izraz, nova muzika, zven kitare, ki ni podrejen funkcionalni tonalnosti. Zato se je na študijih srečeval in spopadal z okostenelimi konvencijami (...)
 
Ičo Vidmar, celotno besedilo objavljeno v: Muska, št. 3-4, marec-april 2009
 
 
ENG
 
Marco Cappelli was born in Naples in 1965 and, after having been a member of several young bands as an adolescent - spacing from rock to blues and to popular Neapolitan music - he starts regular academic studies, graduating Summa Cum Laude from the Conservatorio di Santa Cecilia of Rome in 1989.

In 1991 he wins a scholarship offered by the Swiss Confederation that allows him to attend, at the prestigious Musik-Akademie in Basel, the guitar class known as Konzert-Klasse taught by Oscar Ghiglia and classes of Chamber Music held by Walter Levine, Hatto Bayerle and Jurg Wittenbach, thus receiving the Konzert-Diplom with the highest grades in 1993.

During his stay in Switzerland, Marco collaborates with various groups including Ensemble S and Ensemble Opera Nova from Zurich, IGNM and Ensemble dell’Elektronisches Studio from Basel, where he embraces such a wide repertory that ranges from the fathers of contemporary music (Schonberg, Boulez, Kurtag, Scelsi and more) to the first absolute executions, under the guidance of directors such as Jurg Wittenbach, Thomas Kessler and Jurg Hennenberger.

Back in Italy Marco’s musical interests broaden, ranging from improvisation in collaboration with Enrico Rava in the Progetto Carmen, with whom he plays in international festivals in Montreal, Toronto and Vancouver (Canada), Willisau (Switzerland), and Saalfelden (Austria).

Such variety of musical experiences brings collaborations with several musicians, such as Han Bennink, Anthony Coleman, Michel Godard, Claudio Lugo, Franco Piersanti, Jim Pugliese, Enrico Rava, Marc Ribot, Giovanni Sollima, Giorgio Tedde, Bruno Tommaso and many more.

The protagonist of an extraordinary artistic path, where he smoothly oscillates from music writing to the most rigorous practice of improvisation, Marco lets the heterogeneous musical experiences that he is making flow together with his solo activity, proposing programs that build a bridge between traditional contemporary repertoire and the most daring form of experimentation.

Marco Cappelli is regularly invited by concert associations of classic music and by festivals of jazz music and improvised music, and he participates to the first executions by composers such as Junghae Lee, Giorgio Tedde, Claudio Lugo or of EGP (Extreme Guitar Project: 10 new compositions written for him by composers of the Downtown scene of New York City).

Among his many commitments, Marco was invited to play solo at the Asian Composer Festival (Seoul, May 2002), to the writing for electric guitar in the opera Ellis Island by Giovanni Sollima (Teatro Massimo di Palermo, October 2002), to the first performance of Tammurriata per chitarra e orchestra by Giorgio Tedde, on commission of the Ente Lirico di Cagliari (Cagliari, February 2003) which was repeated in South Korea with the Madri Chamber Orchestra (Seoul, May 2003) and finally to the first execution of EGP on account of  the Associazione Alessandro Scarlatti (Naples, November, 2003) and of the Issue Project Room (New York, January, 2004).

As the guitarist of the Ensemble Dissonanzen he is the charter member of Dissonanzen, an association that for years has been in charge of the promotion and diffusion of contemporary music in Naples and of the production of artistic projects that the Ensemble exports to the international concert circuit.

Amidst the projects of which he is co-leader the most relevant are A Bao a Qu ( with Marco Sannini and Francesco D’Errico), Dedalo Guitar Project (with Domenico Caliri), Syntax Error (with Roberto Pellegrini and Daniele Ledda) and IDR-Italian Doc Remix (with Jim Pugliese).

Chair of Guitar Studies at the Conservatorio Vincenzo Bellini of Palermo, he has then, in 2004, been appointed “Guest Professor” at New York University and at the Juilliard School of Music.

With his students of the Ensemble at the Conservatorio Vincenzo Bellini in Palermo, he has recorded a CD for the label Teatro del Sole, of music composed by Leo Brouwer distributed by the trade magazine Guitart.

For the same label he has recorded YUN MU, a CD dedicated to all contemporary guitar music, that has obtained great success with the national and international trade press and the estimation of composers such as John Zorn and Steve Reich.
 
In 2006-2007 Marco Cappelli also published "Los Angeles Tapes" (with Andrea Centazzo and Kato Hideki) for Ictus Records, and signed his debut on John Zorn’s Tzadik, taking part in duo with Jim Pugliese on the CD "Pushy Blueness" by Anthony Coleman.
In 2008 the Italian jazz label Itinera released the first cd of Marco’s band IDR - Italian Doc Remix.
 
The diversity of Marco’s performances is due to a fascinating array of collaborations (Anthony Coleman, Michel Godard, Butch Morris, Franco Piersanti, Jim Pugliese, Enrico Rava, Marc Ribot, Elliott Sharp, Giovanni Sollima, Markus Stockhausen, Cristina Zavalloni and more) and regularly as guest in important classical and contemporary music series (Teatro Massimo di Palermo, Associazione A. Scarlatti di Napoli, Ravenna Festival, Festival Traiettorie di Parma, Cinque passi nel ’900 al Teatro Lirico di Cagliari, Guggenheim Museum in New York, Italian Academy at Columbia University New York, Salzburg Festival, Ruhr Triennale...) as well in jazz and avantgarde music festivals (Saalfelden Jazz Festival - Austria, Pomigliano Jazz - Italy, Grim in Marseille - France, Barnsdall Theatre in Los Angeles, Tonic in New York, OutPut Festival in Amsterdam...) both as a soloist and in ensemble settings.

kontakt: defonija@gmail.com
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