Fabio Vacchi

Fabio Vacchi (pronounced "Vahkie") (born 1949 in Bologna), is an Italian composer.

Biography

Training and debut

Fabio Vacchi studied at the Conservatorio Giovanni Battista Martini of Bologna with Giacomo Manzoni and Tito Gotti. In 1974 he participated in the courses of the Tanglewood Festival in the United States, where he was awarded the Koussevitzky Prize in Composition.[1] In 1976 he won first prize at the Gaudeamus Composition Competition in the Netherlands, with the work Les soupirs de Geneviève for 11 string soloists, and in the same year he wrote Sinfonia in quattro tempi, conducted by Giuseppe Sinopoli for the Venice Biennale Festival,[2] which thereafter dedicated to him two monographic concerts in 1979[3] and 1981.[4] In Venice, where he lived from 1984 to 1992, he met and was supported by Luigi Nono.[5]

From the Maggio Musicale Fiorentino to the Vienna Philharmonic, the Berliner, the Gewandhaus and the Carnegie Hall

He made his debut at the Maggio Musicale Fiorentino Festival in 1982 with Girotondo, an opera whose libretto was adapted from Arthur Schnitzler.[6] Following this opera came Il Viaggio (Teatro Comunale di Bologna, text by Tonino Guerra),[7] – in the same year, 1990, when he attended the New York Festival of Contemporary Music with L'usgnol in vatta a un fil -[8] then La station thermale, with a libretto by Myriam Tanant from Goldoni - produced at Opéra de Lyon (1993),[9] afterwards at La Scala[10] and Opéra Comique de Paris (1995).[11] He also wrote Sacer Sanctus (1997) for chorus and instruments, text by Giuseppe Pontiggia, "a work commissioned by La Scala (1997) and repeated at the Festival of Ravenna (1998), the Festival Présence 2002 in Paris and S. Cecilia in Rome in 2003".[12]

For the musical theatre he has subsequently written Les oiseaux de passage (Opéra de Lyon, Teatro Comunale di Bologna, 1998-2001)[13] and, in 2003, Il letto della Storia, with a libretto by Franco Marcoaldi and stage direction by Giorgio Barberio Corsetti. For this opera he received the Abbiati Prize from the National Association of Italian Critics for the best new work of the year.[14] The partnership with Marcoaldi has continued, bringing about such works as Terra comune (which, at the request of Luciano Berio, inaugurated Rome's Auditorium Parco della Musica in 2002),[15] Tre Veglie commissioned by the Salzburg Festival (conducted in 2000 by Ivan Fischer, with Anna Caterina Antonacci),[16] and the second opera for the Teatro alla Scala, Teneke (2007, chosen for the That's Opera event, on the occasion of the bicentennial of Ricordi, curated by Jean-Jacques Nattiez)[17] conducted by Roberto Abbado, stage direction by Ermanno Olmi, with set design by Arnaldo Pomodoro.[18]

Vacchi's music was again heard at the Salzburg Festival in 2006, during the celebrations of the 250th anniversary of Mozart’s birth, with a performance by Vienna Philharmonic Orchestra under Riccardo Muti of La giusta armonia, a melologue with narrator and orchestra based on a text by the proto-socialist Franz Heinrich Ziegenhagen, who was a friend of Mozart.[19] Worthy of mention is Voci di notte (2006), commissioned by the Orchestra of the Maggio Musicale Fiorentino, on the occasion of the 70th birthday of their conductor Zubin Mehta. Mehta is one of many conductors, such as Berio, Chung, Harding, Marriner, Pappano, and, as already mentioned Muti and Abbado, who have conducted Vacchi's music a number of times.

In 2009 Riccardo Chailly conducted the symphonic melologue Prospero o dell’Armonia (by Shakespeare, Filarmonica della Scala)[20] and in 2011 Tagebuch der Empörung (Leipzig, Gewandhaus Orchestra).[21] Both the symphonic Mare che fiumi accoglie,[22] conducted by Antonio Pappano at the Parco della Musica in Rome, and the opera La madre del mostro, based on a libretto by Michele Serra, date back to 2007.[23] Amos Oz wrote the libretto of the opera The Same Sea for Vacchi, from the novel of the same name, staged at Teatro Petruzzelli in Bari, with scenery by Gae Aulenti, in 2011.[24] Again in collaboration with Amos Oz, he composed the melologue D’un tratto nel folto del bosco, based on a text by Michele Serra from the novel of the same name (Nestled deep in a thick forest) by the Israeli writer, for the Festival Mito (which dedicated a monograph - the first Italian - to Vacchi, in 2014)[25] of 2010.[26] The melologue also travelled to Paris, in 2014 and in a French version (Soudain dans la forêt profonde, Comédie française, Salle Pleyel), with a CD by the Ministère de l'Éducation Nationale, designed for schools in France.[27] In 2015, he composed a symphonic poem, Der Walddämon, again inspired by Nestled Deep in a Thick Forest by Amos Oz and commissioned by Riccardo Chailly, who conducted it at the Gewandhaus in Leipzig.[28] In the same year, Vacchi directed the Atelier Opéra en création at the Aix-en-Provence Festival, where his works were performed between 2014 and 2015.[29] In 2016 his ninth opera came out, Lo specchio magico,[30] based on a text by Aldo Nove (staged at the Maggio Musicale Fiorentino, conducted by John Axelroad)[31] and Vencidos for voice and orchestra commissioned by the Festival Internacional Cervantino, in Mexico, for the Miguel de Cervantes celebrations.[32] In 2018 the Teatro San Carlo put on Eternapoli, at the request of Toni Servillo.[33] Again in 2018 the Concerto for violin Natura naturans[34] had its European première at the Opera of Budapest and its American première at the Carnegie Hall in New York, (conductor Balázs Kocsár, soloist Haruka Nagao).[35] In February 2019 the Orchestra laVerdi of Milan devoted four monographic concerts to him, including the Italian première of Natura naturans.[36]

Works of social commitment

Riccardo Muti conducted Diario dello Sdegno (Teatro alla Scala, 2003), written by Vacchi in the emotional aftermath of 11 September 2001 and the international conflicts that followed.[37] After its première in Milan (2002), this piece was performed in Paris (2003)[38] and Bruxellels, during Italy's turn of holding the presidency of the European Union.[39] Ethical themes have great significance for Vacchi and they are evident in other compositions of his, such as Irini, Esselam, Shalom (2004) for voice, violin and orchestra, which deals with the theme of peace, reflecting upon sagacious texts from the monotheistic religions. Another similar piece was Dai calanchi di Sabbiuno for chamber ensemble, which was composed for the Commemoration of the 50th anniversary of the Italian Resistance (Teatro alla Scala, 1995) and which has been performed more than 100 times around the world, also in the version for full orchestra requested by Claudio Abbado.[40] Ethical themes are central in three recent works. The Teatro alla Scala will, on 22 March 2020, be staging the premiere of Madina, Theater-Dance (whose text of Emmanuelle de Villepin focuses on the theme of terrorism), for actor, soprano, tenor, choir, orchestra and dance troupe with Roberto Bolle étoile,[41] Was Beethoven African?, inspired by Nadine Gardimer’s anti-racism novel and commissioned by the Philharmonie de Paris and the Paris Mozart Orchestra - with the commission chaired by Deborah Borda of the New York Philharmonic - will be performed at the Philharmonie, Paris, on 19 March 2020.[42] The mock-heroic opera Jeanne Dark, from Voltaire’s Pucelle d’Orléans, that will be staged at Maggio Musicale Fiorentino, 22 May 2020,[43] reflects his rebellion against dogmatic thinking.

Chamber works and film music

On a commission from Abbado, Vacchi composed Briefe Büchners, a Lieder cycle which was performed by the Berliner Philharmonie in 1998.[44] These Lieder works are fruits of the period in which he focused his attention on chamber music. Other such works include, among others, the Third String Quartet (2002) written for the Tokyo String Quartet, which was awarded the Annual Lully Award in 2003 for the best new work of the year performed in the United States,[45] and the Fourth Quartet (2004), commissioned by RAI Radio for the 80th anniversary of Italian radio. For the Hilliard Ensemble and the Barrow River Art Festival, he composed Memoria italiana in 2013.[46] Part of Luoghi immaginari, which was composed between 1987 and 1992 and consists of various pieces for various instrumental formations - performed many times, conducted also by Daniel Harding in Salzburg Mozarteum[47] or in the Festival of Italian Contemporary Music in Beijing -[48] and was included, along with other works by Vacchi, in the soundtrack to The Profession of Arms by Ermanno Olmi. For this film, which marked the beginning of his collaboration with the world of film, Vacchi was awarded the David di Donatello prize for Best Score of the year. 2005 saw him honoured again, this time at the RDC Awards, for his music in Patrice Chéreau’s film Gabrielle. Also by Vacchi is the soundtrack to Olmi's latest works One Hundred Nails (2007),[49] and Vedete, sono uno di voi (2017).[50] The Quartetto di Cremona has performed his four String Quartets many times[51] and commissioned him to write the sixth, which will be performed at Società del Quartetto di Milano, 9 February 2021.

Other news

Worthy of mention is the recent Voci di notte (2006), commissioned and performed by the Orchestra of the Maggio Musicale Fiorentino, on occasion of the 70th birthday of their conductor Zubin Mehta. Mehta is one of many conductors, such as Berio, Chung, Fischer, Harding, Marriner, Pappano and, as already mentioned Muti and Abbado, who have conducted Vacchi's music various times.

Poetics[52]

Since his early compositions, Fabio Vacchi has taken on the challenge of reaching beyond the closed and inside circle of connoisseurs, maintaining the objective of writing music for those who do not habitually listen to contemporary music (adapting to music the ideas of Hans Magnus Enzensberger). His creative process, rather than radically rejecting traditional codes, seeks to privilege a focus on the material, understood as an attention given to sound and to the human body that is that sound's very destination.[53] Vacchi, thus, believes that it is indispensable not to overlook the psycho-acoustic parameters that allow music to reach the listener and stimulate his or her senses. Such techniques include the repetition of certain elements as the work unfolds and the insertion of continuous but recognizable sonorous material, so as to keep the listener attentive and alert.[54]

In Vacchi's conception of music, the sonorous material that a composer chooses to utilize is less important than the way in which it is presented: the work's form must communicate a sense of itself and must establish a system in which there is expectation and surprise, surprise having always been an expressive, communicative, and dramatic device used by many composers, even if unconsciously so.[55]

As Peter Korfmacher wrote in the Lepiziger Volkszeitung about his Tagebuch at Gewandhaus, focusing on the events of 11 September 2001, "Vacchi does not describe any attack, nor war. His metaphysical approach is certainly comparable to that of Gustav Mahler: very diverse material is inserted into a broad range, so that meanings which may be felt on an emotional level but not expressible with words are revealed".[56]

In the Vacchi's own words,

only music that is capable of setting in motion the listener’s senses and emotional perception can aspire to beauty; as such music is an asset that concerns us all, because then it allows us to live. The inhabitants of a world that is disenchanted, as ours is, still need fables. Granted these fables are no longer tales of fairies and witches, they still, however, need to arouse wonder. Thus, we must both take beauty back and follow the new roads created by the Avant-Garde without allowing, however, that the new expressive freedom therein be self-gratifying, that is, being transgression for transgression’s sake. It is important to aim instead towards a gradual transformation that is incessant and substantial.

This, believes Vacchi, is the road to take, a road he sees leading to an identity in which esthetics and ethics, and beauty and social commitment all come together, an identity in line with the important classical-Greek concept of kalòs, such that music becomes

a point of contact between the power of amazing us and the need for us to see ourselves in the Other, leaving behind the feverish egotism of a power that, like a cancerous growth, erects insuperable walls between people of different sexes, races, and social classes.

[57]

Style

Fabio Vacchi's music shows an extremely personal and recognizable style resulting from a particular interaction of harmonic, structural, and timbral preferences.

Behind a "siren-like lyricism"[58] ENZO RESTAGNO in GIORGIO PESTELLI, FRANCO PULCINI, Le ragioni del canto, Torino: 1996</ref> in his works, one finds a rigorous structure which stems from the selection, within the sphere of total chromaticism, of an elaborated harmonic plane, according to the criteria of circularity, transposition, and simultaneity, so as to generate a network of contrapuntal thematic lines: therefore Claudio Abbado defines his writing as "complex and not derivative, and capable of reaching the listener"[59] and Jean Jacques Natties is explicit in declaring that his music "can furnish a sense of direction for composers in this new century. Thanks to Fabio Vacchi for having known how to chart – for the music enthusiast and the composer alike – an innovative course».[60]

This expressive material constitutes the breeding ground for the ideas that provoke the work's development. Herein an important role is played also by particular timbral combinations, resulting not only from the use of innovative techniques of sound production, but also from his experience in the field of electro-acoustic analysis and in the field of the physics of sound, experience acquired during his studies in electro-acoustics in Fribourg, where he was invited by Luigi Nono. So, "Vacchi’s music is characterized in particular by its quality of sound; fluid, refined and shimmering, subtly nuanced and suggestive of echoes and reverberations. The rigour of compositional procedures is tied to a concern to create a communicative idiom which takes into consideration the listener’s perceptive ability".[61]

Prizes and acknowledgements

Discography
Title Soloists Orchestra / Ensemble Conductors Release Label
Luoghi immaginari Marco Lazzara EnsembleMusica20 Guido Guida, Mauro Bonifacio 1996 BMG Ricordi CRMCD 1043
Suite in "2xMöller" Duo2xM - - 1996 nosag CD 054
La station thermale Cécile Besnard, Christophe Lacassagne, Pomone Epoméo, Catherine Renerte Orchestre de l'Opéra de Lyon Claire Gibault 1998 BMG Ricordi 74321356142 (2 CDs)
Wanderer Oktett – Dionysos - Orchestra Sinfonica Siciliana, Contempoartensemble, Agon Acustica Informatica Musica Emilio Pomarico, Mauro Ceccanti 2000 Stradivarius STR 33597
Movimento di quartetto in "Quartetti per archi: Schubert, Vacchi, Ligeti" - Quartetto Savinio - 2004 Paragon, CD supplement for Amadeus magazine, June 2004 SMF 001-2
Gabrielle Raina Kabaivanska, Pavel Vernikov Orchestra Sinfonica di Milano "G.Verdi" Claire Gibault 2005 Sony BMG 82876730902
Quintetto in "Rotte sonore" - Dedalo Ensemble Vittorio Parisi 2007 Stradivarius STR 33747
Mignon (Über die Sehnsucht) in "La voce contemporanea in Italia vol.3" Tiziana Scandaletti, Riccardo Piacentini - - 2007 Stradivarius STR 33769
Luoghi immaginari Marco Lazzara EnsembleMusica20, Orchestra Sinfonica Siciliana Guido Guida, Mauro Bonifacio 2007 Stradivarius STR 57005

See also

Notes
  1. http://www.byterfly.eu/islandora/object/mitosmmp:696/datastream/PDF/content/mitosmmp_696.pdf
  2. 18 September 1976, Teatro la Fenice of Venice, https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok. His Buchstaben for soprano and orchestra was also performed at the Venice Biennale Festival in 1974, (https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok), L'usgnol in vatta a un fil, for orchestra, 28 September 1985 (https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok), Prima dell’alba, for cello, soprano and orchestra, 18 June 1993, (https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok), Tre veglie, First Italian Performance, 28 September 2001 (https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok), Voci di notte, for orchestra, 2008 (http://www.agendavenezia.org/it/evento-14098.htm)
  3. 30 September 1979: https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok; Enzo Restagno, Felicità trionfale dei suoni di Vacchi, il Gazzettino, 2 October 1979; Enzo Restagno, In occasione della Biennale-Musica. Grande successo a Venezia dei torinesi del "Toscanini", Stampa Sera, 2 October 1979.
  4. 2 October 1981:https://issuu.com/encuentrosdanzamalaga0/docs/1974_al_2007_ok
  5. Luigi Nono proposed to Vinko Globokar to include Vacchi’s Continuo, in a concert which he conceived (letter from Luigi Nono to Mimma Guastoni, 29 December 1981; Ricordi Oggi, 1990).
  6. "Girotondo". OperaManager.com. Retrieved 25 July 2020.
  7. http://www.operamanager.com/cgi-bin/process.cgi?azione=ricerca&tipo=OP&id=10634
  8. With Petrassi, Dallapiccola, Berio, Nono, Bussotti, Sciarrino, Madema, Donatoni: http://www.byterfly.eu/islandora/object/mitosmmp:696/datastream/PDF/content/mitosmmp_696.pdf
  9. https://www.opera-lyon.com/fr/les-operas-depuis-1969; https://www.la-croix.com/Archives/1998-12-17/Musique-_NP_-1998-12-17-465153; Michelangelo Zurletti, Fanghi, alghe, amori nei Bagni d’Abano, La Repubblica, 16 November 1993;Sergio Segalini, La Station thermale, Opéra International, Janvier 1994; Bellezze al bagno, The New York Review of Books, February 1994.
  10. Michelangelo Zurletti, Fanghi, alghe, amori nei Bagni d’Abano, La Repubblica, 16 November 1993; Mario Messinis, Applausi per “La Stazione termale” di Fabio Vacchi, Il Gazzettino di Venezia, 21 March 1995
  11. Françoise Decroisette, www.lalocandiera.com.La réception française des comédies goldoniennes à travers internet (1995-2007), in Marie-José Tramuta & Yannick Butel, France-Italie: un dialogue théâtral depuis 1950. Actes du Colloque international, Abbaye d’Ardenne 1er-2 décembre 2006, Peter Lang, 2008, p.182; Stephen Hastings, From Around the World. Milan, in Opera News, May 1995.
  12. http://www.compositiontoday.com/composers/741.asp
  13. http://www.concertonet.com/scripts/review.php?ID_review=458; Enrico Girardi, Un’opera di Vacchi conquista Lione, il Corriere della sera, 19 December 1998; Sandro Cappelletto, Lione, la prima opera sugli emigranti, La Stampa 15 December 1998; https://www.youtube.com/watch?v=aO5xqqreYaY; http://operalirica.com/cgi-bin/process.cgi?azione=ricerca&tipo=OP&id=11240; https://www.opera-lyon.com/fr/les-operas-depuis-1969; Enrico Girardi, Prima applaudita al Comunale, Il Corriere della sera, 23 October 2001; Karl-Josef Kutsch, Leo Riemens, Großes Sängerlexikon, Volume 4, p.5286.
  14. Michelangelo Zurletti, Trionfa al Maggio fiorentino “Il letto della storia” con il testo di Franco Marcoaldi. Sul podio Claire Gibault, la Repubblica, 18 February 2003; Paolo Gallarati, Il senso della storia si impara sul letto, La Stampa, 23 February 2003; https://it.wikipedia.org/wiki/Premio_Franco_Abbiati_della_critica_musicale_italiana
  15. https://www.musicwithmasters.com/fabio-vacchi/; http://www.treccani.it/enciclopedia/tag/fabio-vacchi/
  16. Michelangelo Zurletti, Le veglie di Vacchi, la Repubblica, 2 August 2000
  17. http://www.musique.umontreal.ca/personnel/nattiez_jj.html
  18. Marcoaldi creates the libretto from the homonymous novel by Yaşar Kemal. Juliet Giraldi, Teneke Fabio Vacchi, Teatro alla Scala, Milan, Opera Now, January/February 2008; Paolo Isotta, Tamburi di latta all’opera, Corriere della Sera, 24 September 2007; Marilena Laterza, Teneke, monta la rivolta popolare sulla sinfonia dei tamburi di latta, il Manifesto, 30 September 2007; Lorenzo Arruga, Il Giornale, 24 September 2007
  19. https://www.wienerphilharmoniker.at/orchestra/philharmonic-journal/year/2006/month/11/blogitemid/815; https://www.musicaustria.at/neue-musik-in-salzburg-ii-urauffuehrungen/
  20. E.Girardi, Novità di Vacchi e Chailly ispirato: concerto perfetto, Il Corriere della Sera, 29 March 2009
  21. P.Korfmacher, Werke von Ravel, Cerha und Vacchi und Martin Grubinger als Solist im Großen Concert unter Chailly, Leipziger Volkszeitung, 14 May 2011 (https://www.genios.de/presse-archiv/inhalt/LVZ/20110514/1/leipziger-volkszeitung.html)
  22. http://www.lamusicadiraitre.rai.it/category/0,1067207,1067049-1078664,00.html; https://www.auditorium.com/evento/orchestra_accademia_nazionale_di_santa_cecilia_pappano-12290.html
  23. Cesare Fertonani, La madre del mostro: un’opera di Michele Serra e Fabio Vacchi, Settore L-ART/07 - Musicologia e Storia della Musica, Milano: https://air.unimi.it/handle/2434/38079#.XdLJM1dKjIV (http://hdl.handle.net/2434/38079); Opera 2007. Annuario dell’opera lirica italiana, Turin, EDT, p. 245
  24. Fania Oz-Salzberger, The Same Sea, Newsweek, 2 May 2011; Carla Moreni, Lo stesso mare. Ironia sulle passioni di coppia, il Sole 24 ore, 8 May 2011
  25. http://www.mitosettembremusica.it/it/multimedia/video/2014-09-17-torino-19913.html
  26. N.Sguben Il melologo di Vacchi è dedicato a un gatto, La Repubblica, 9 December 2010 (https://ricerca.repubblica.it/repubblica/archivio/repubblica/2010/09/12/il-melologo-di-vacchi-dedicato-un-gatto.html); https://marilenalaterza.wordpress.com/2010/09/13/mito-10-oz-vacchi-serra-ovadia-%C2%ABd%E2%80%99un-tratto-nel-folto-del-bosco%C2%BB/
  27. https://www.comedie-francaise.fr/fr/evenements/soudain-dans-la-foret-profonde12-13; https://blogs.mediapart.fr/frederick-casadesus/blog/040213/fabio-dans-la-foret-profonde; http://apac-gennevilliers.fr/Soudain-dans-la-foret-profonde; http://content.citedelamusique.fr/pdf/note_programme/np_13479.pdf
  28. Peter Korfmacher, Urauffürung von Fabio Vacchi’s Walddämon und Sinfonik Sergej Rachmaninoffs im von Riccardo Chailly dirigierten Groβen Concert, Leipziger Volkszeitung, 14 May 2011 (https://www.genios.de/presse-archiv/artikel/LVZ/20150131/urauffuehrung-von-fabio-vacchis-wal/D2DB9A4062628A003101C40EBCB5C6BE.html); https://player.fm/series/series-2410723/saitenwechsel-fabio-vacchi-der-walddamon-klassik-mit-katze
  29. https://www.gl38.fr/5.7%20Orchestre%20de%20Paris%2016p%20exe.pdf; In the programme notes written for the performance of La giusta armonia (conducted by Gianandrea Noseda at the opening of the symphonic season in Turin), Jean Jacques Nattiez declares that Vacchi’s Dai calanchi di Sabbiuno «got a real ovation also at the Aix-en-Provence Festival in 2015, on the occasion of an evening in tribute to Patrice Chéreau» (conducted by Neeme Jarvi)
  30. L.Sorbo, Il teatro musicale di Fabio Vacchi: analisi dell'opera Lo Specchio magico Tesi di dottorato presso la facoltà di musicologia dell’Università Statale di Milano: https://air.unimi.it/handle/2434/146884?offset=1360&sort_by=-1&order
  31. Enrico Girardi, La «Urban Art Dance», il Corriere della sera, 14 May 2016
  32. https://bachtrack.com/work/vencidos-vacchi
  33. Carla Moreni, Eternapoli di Vacchi, Il Sole 24 Ore, 19 February 2018 2018; https://paoladesimone.wixsite.com/laquintagiusta/single-post/2018/02/16/Specchio-profetico-e-apocalittico-di-una-città-teatro-culturalmente-svenduta-alla-rovescia-il-romanzo-di-Giuseppe-Montesano-Di-questa-vita-menzognera-si-trasforma-nel-melologo-Eternapoli-con-musica-a-firma-del-contemporaneo-Fabio-Vacchi-
  34. Helmut Failoni, Vacchi, una prima e mezza con violoncello e violino, La Lettura del Corriere della Sera; Leonetta Bentivoglio, Musica Contemporanea. Quanti pregiudizi, la Repubblica, 11 February 2019; https://www.ventiperquattro.it/2018/10/22/fondazione-petruzzelli-stagione-concertistica-2018-con-la-prima-esecuzione-assoluta-firmata-da-fabio-vacchi/; https://www.rainews.it/tgr/puglia/articoli/2018/10/pug-fabio-vacchi-concerto-petruzzelli-63b1dec3-bc9c-426a-ab73-852cd7796747.html; https://ricerca.repubblica.it/.../violoncello-e-orchestra-il-concerto-di-vacchi-con-dindo
  35. http://opusalb.com/shqip-gjithmone-i-dashuruar-me-violoncelin-fabio-vacchi-luhet-ne-carnegie-hall/; https://www.lecodellitorale.it/2018/10/23/the-hungarian-state-opera-orchestra; http://www.ilgiornale.it/news/milano/milanese-fabio-vacchi-sbarca-carnegie-hall-1595188.html; http://www.ansa.it/sito/notizie/cultura/musica/2018/10/27/musica-fabio-vacchi-alla-carnegie-hall_bc20868d-5f98-4010-af33-afdbac2272b3.html; http://www.ansa.it/emiliaromagna/notizie/2018/10/27/musica-fabio-vacchi-alla-carnegie-hall_76f89827-27d4-4cd1-ba5e-2d61c1dac30d.html; http://www.cidim.it/cidim/content/314696?id=378120; http://www.nuovarassegna.it/spettacoli/il-compositore-fabio-vacchi-sbarca-alla-carnagie-hall; http://www.rivistamusica.com/due-prime-per-fabio-vacchi/
  36. http://www.laverdi.org/it/events/2018%20-%202019/vacchi-e-mendelssohn
  37. Angelo Foletto, Fabio Vacchi, uno “sdegno” che conquista, La Repubblica (Milano), 5 June 2002
  38. https://www.lesechos.fr/2003/10/musique-le-17-octobre-675100
  39. https://www.lalibre.be/archive/notre-selection-51b8806ae4b0de6db9a950c1
  40. Enrico Girardi, I Calanchi di Vacchi o del dolore universale, Il Corriere della sera, 17 ottobre 2000; Statement of Claudio Abbado on the CD cover published by EA-Generali Classic Edition, with the Gustav Mahler Jugendorchester conducted by Iván Fischer; https://www.kennedy-center.org/artist/composition/2837; http://www.gmjo.at/Home/AbouttheGMJO/Tourneearchiv/tabid/108/curYear/1997/Default.aspx; https://www.umpgclassical.com/en-GB/News/2014/06/Vacchi.aspx
  41. http://www.teatroallascala.org/it/stagione/2019-2020/balletto/madina.html; Simona Spaventa, Il terrorismo in scena e il tris di Bolle, la Repubblica, 21 May 2019; https://ricerca.repubblica.it/.../05/.../il-terrorismo-in-scena-e-il-tris-di-bolleMilano09.html; Valeria Crippa, Testo in corsivo, Il Corriere della Sera, 21 May 2019; Alla Scala prima mondiale di Madina, l’Avvenire, 21 May 2019
  42. Was Beethoven African? was composed for the International Competition de cheffes d'orchestra "La Maestra", https://www.muvac.com/.../la-maestra-competition-chef-d-orchestre; https://dasorchester.de/artikel/la-maestra-neuer-wettbewerb-fuer-dirigentinnen/; https://www.evensi.fr/2020-19-philharmonie-2-salle-concerts-dress-rehearsal-finals-maestra-int-conducting-competition-women/31832 Archiviato il 29 luglio 2019 in Internet Archive
  43. https://www.maggiofiorentino.com/events/jeanne-dark-3/
  44. Lidia Bramani, La musica scorre a Berlino. Conversazione con Claudio Abbado, Bompiani, Milano 2015, pp.68-69
  45. http://www.compositiontoday.com/composers/741.asp
  46. http://www.artscouncil.ie/Events/Feile-Festa/Barrow-River-Arts-Festival/
  47. 31 March 1996, Großer Saal, Stiftung Mozarteum (https://www.osterfestspiele-salzburg.at/en/festival/history-archive-work.html); http://www.compositiontoday.com/composers/741.asp
  48. At Beijing Central Conservatory of Music, Auditorium, in the Festival of Italian Contemporary Music, May 1999 (http://www.byterfly.eu/islandora/object/mitosmmp:466/datastream/PDF/content/mitosmmp_466.pdf)
  49. http://www.intramovies.com/catalogue/details.php?id=47&dn=pressbook_en.pdf
  50. With Vacchi’s, Verdi’s and Fresu’s music. Paola Casella, Il ritratto di un compagno di cammino, MyMovies.it, 7 February 2017 (https://www.mymovies.it/film/2017/vedetesonounodivoi/)
  51. The Second String Quartet, Movimento di Quartetto, was performed at Flick Collection, New York, in 2018: Harry Rolnick, Italian Chambers, Concertonet, The Classical Music World, New York, 11/11/2018 (https://www.concertonet.com/scripts/review.php?ID_review=13446)
  52. MARILENA LATERZA, Fabio Vacchi. Luoghi immaginari, altremusiche.it: 2007 Archived 2008-05-11 at the Wayback Machine
  53. "Vacchi’s merit lies in having believed, even in the most trying circumstances, that there was another road, open to modern music, one where transit no longer seemed possible": O.Bossini, The Tree of Forbidden Fruit, in cover CD BMG Ricordi, CRMCD 1043, Fabio Vacchi, Luoghi immaginari.
  54. Even if "Vacchi does not pretend to be a naive artist", "much less does he pander to the masses with a facilitated harmonic vocabulary. Rather, he aspires to technical perfection in his writing": O.Bossini, The Tree of Forbidden Fruit, in cover CD BMG Ricordi, CRMCD 1043, Fabio Vacchi, Luoghi immaginari
  55. Marilena Laterza, Fabio Vacchi. Luoghi immaginari, altremusiche.it: 2007 Archived 2008-05-11 at the Wayback Machine
  56. P.Korfmacher, Werke von Ravel, Cerha und Vacchi und Martin Grubinger als Solist im Großen Concert unter Chailly, Leipziger Volkszeitung, 14 May 2011 (https://www.genios.de/presse-archiv/inhalt/LVZ/20110514/1/leipziger-volkszeitung.html
  57. http://www.altremusiche.it/wp/fabio-vacchi-luoghi-immaginari/
  58. E.Restagno, in G.Pestelli, Le ragioni del canto, Torino, 1996; monographic documentary by Franco Pulcini about Fabio Vacchi, TV Sky Classica https://www.youtube.com/watch?v=Hd3oj1quhL0&list=TLPQMTYxMTIwMTmqrypJ6goASQ&index=2; http://wanderersite.com/it/interview/dal-tempo-della-ricerca-bisognerebbe-passare-a-quello-del-ritrovamento/
  59. C. Abbado, La musica scorre a Berlino. Conversazione con Lidia Bramani, Milano, Bompiani, 2015, pp.67-68
  60. J.J.Nattiez, What music should one write at the beginning of the twenty-first century? in Teneke, Milano, Program Notes for Teatro alla Scala,.2007
  61. Voice Fabio Vacchi in The New Grove Music Online, Oxford Music Online: https://doi.org/10.1093/gmo/9781561592630.article.44150

Biographical profiles and essays

Listenings and videos
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.