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Enrico Girardi

Enrico Girardi (Milano, 1964) è docente di discipline musicologiche presso
l’Università Cattolica di Milano, dove si era laureato in lettere moderne e addottorato in musicologia. È inoltre critico musicale del Corriere della Sera dal 2001, per il quale ha redatto oltre 2000 recensioni da tutta Europa, dopo aver svolto tale attività per altre testate quotidiane e periodiche, per i programmi musicali di Rai Radio3 e per il canale televisivo “Classica”, per il quale ha curato il ritratto documentaristico di oltre trenta compositori italiani. Ha pubblicato numerosi saggi, prevalentemente incentrati sulla produzione musicale moderna e contemporanea (tra gli altri, per Feltrinelli, Paravia, Rizzoli, Marsilio, Baldini&Castoldi). Ha collaborato come autore di testi e come conferenziere con numerose istituzioni musicali italiane ed europee. Tra le sue più recenti pubblicazioni si annovera la cura del volume di Daniel Barenboim La musica è un tutto (Feltrinelli, 2012) e quella del volume di Riccardo Chailly Il segreto è nelle pause (Rizzoli, Milano 2015). È stato membro di giurie in Concorsi internazionali, tra cui il “Belli” di Spoleto per cantanti, il “Pedrotti” di Trento per direttori d’orchestra, il “Paganini” di Genova per violinisti e il “Busoni” di Bolzano per pianisti.

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Ukho Ensemble

The UKHO ENSEMBLE KYIV, founded in 2015 by Ukho Agency (managing and curatorial team) and Luigi Gaggero (artistic and musical direction) unites twenty five of some of the very best Ukrainian soloists, joined by the American Rachel Koblyakov as concertmaster.

Recreating the utopia of sixty rehearsal hours for every concert, the ensemble pre- pares its programs with the greatest accuracy. Instead of a widespread structural- ist approach to contemporary music, the ensemble privileges a phenomenological one: its interpretations are not based on an abstract idea of time which needs to be calculated, but rather on the human experience of the empathic encounter between the interpreter, composition, and audience, which brings about the feeling of lived time. This approach results in moving, colorful interpretations, in which contem- porary music – despite its complexity – abandons itself to the sweep of “classical” phrasing. The readings of the great modern Masters (Messiaen, Grisey, Varèse, Ligeti, Takemitsu, Xenakis, Kurtág, Silvestrov…) alternate with those of great contemporaries (Ambrosini, Andreyev, Antignani, Couvreur, Gervasoni, Gourzi, Naon, Rathé, Rotaru, Solbiati..). Featured Ukrainian composers (Kolomiiets, Man- ulyak, Retinsky, Pashinsky, Zaika, and Zavgorodnii) are all very young, three of them belong to the core of the ensemble.

Ukho agency, a curatorial group known for all things interdisciplinary, often com- pliments the ensemble’s concerts with visual interventions, irregular choice of con- textual narrative and hosting venues. This leads to numerous collaborations with young Ukrainian artists – the ensemble’s resume already includes three produc- tions for the National Opera of Ukraine, all of them (Gervasoni, Cella, Sciarrino) dubbed historic as the first contemporary operas in decades to be put on stage of Ukraine’s capital theatre.

A rare flower, Ukho Ensemble resides in Plivka, an art centre recognized for its unconditional raves, experimental use of media, and a straightforward outsider sentiment. What this means practically is that at Ukho’s concerts conservatoire mastodons often sit next to young tattoo artists, budding tattooed poets, and age- less low-key promoters of all-round legendary techno parties. Quite an empathic encounter.

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Luigi Gaggero

Luigi Gaggero has been performing as cimbalom player and percussionist for 20 years and, more recently, as conductor of contemporary music ensembles for im- portant concert halls and festivals all over Europe, USA, and China (Berlin, Paris and Kiev Philharmonics, Milano Musica, Carnegie Hall, Salzburger Festspiele, BBC Proms in London, Biennali in Salzburg and Venezia, Klangspuren, DeSing- el…)

His original interpretations approach classical and contemporary pieces from the same point of view: in this way ancient music gets colored with the freedom partic- ular to contemporary music, which, in turn, despite its complexity, abandons itself to the sweep of “classical” phrasing.

Gaggero is musical director of the Ukho Ensemble Kyiv, which he co-founded in 2015, with whom he has premiered more than 40 new pieces and has directed three sold-out opera productions (music by Stefano Gervasoni, Carmine Cel- la and Salvatore Sciarrino) at the National Opera of Ukraine, receiving great popular and critical acclaim. Gaggero and Ukho hold regular masterclasses for composition and contemporary music conducting.

As a conductor Gaggero has recorded monographic CDs dedicated to Gervasoni (Winter & Winter), Hosokawa (Kairos), Solbiati (EMA Vinci Records), Mon- teverdi and Gesualdo (Stradivarius).
As a cimbalom player Gaggero regularly plays with the best European orches- tras (Berliner Philharmoniker, Münchner Philharmoniker, Münchner Kammer- orchester, Sinfonieorchester des NDR Hamburg, Filarmonica della Scala, Radio Filharmonisch Orkest Holland, Philharmonia Orchestra London, Orchestre du Théâtre de La Monnaie in Bruxelles, Orchestre de Radio France) and the best European ensembles (InterContemporain, Scharoun, musikfrabrik, Modern, œnm Salzburg, Contrechamps, Remix, Spectra and Notabu). He has recorded solo works by Kurtág, Hosokawa, Gervasoni, Yeznikian, Fedele and Eötvös. Gaggero has played under the direction of Abbado, Barenboim, Boreyko, Boulez, Cambreling, Eötvös, Hannigan, Harnoncourt, Holliger, Muti, Nagano, Ono, Pappano, Poppen and Rattle, and he collaborated with interpreters such asJu- liane Banse, Muriel Cantoreggi, Mario Caroli, Marino Formenti, Niek de Groot, Barbara Hannigan, Maria Husmann, András Keller, Frank Stadler, and Gen- eviève Strosser.

He studied percussion and conducting with Andrea Pestalozza, who also led him to discover 20th century music, cimbalom with Márta Fábián, and was the first percussionist to receive the soloist-diploma with honours at the Hochschule für Musik Hanns Eisler in Berlin, where he studied with Edgar Guggeis and Rainer Seegers.

Gaggero is professor of cimbalom at the Conservatoire and at the Académie Supérieure de Musique in Strasbourg, where he also conducts the contemporary music ensemble of the Académie.

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Luigi Attademo

Award-winning guitarist in several national and international competitions, in- cluding the prestigious “Concours International d’Exécution Musicale (CIEM)” in Geneva (1995), Luigi Attademo was a pupil of guitarist-composer Angelo Gi- lardino. He graduated in Philosophy with a dissertation on musical interpretation, and henceforth published a book onthis subject as well as having contributed to several magazines. He has worked in the Andrés Segovia’s Foundation Archive (Linares-Spain), to catalogue its manuscripts, and discovered there some unknown works written by noteworthy composers, such as Jaume Pahissa, Alexandre Tans- man, Gaspar Cassadò amongst others. He has recorded several premières of this repertoire, as well as many CDs – all published by Brilliant Classics – to mention just a few, Scarlatti’s Sonatas (2009), the Complete Bach music for lute (2011), and the complete music for guitar by Niccolò Paganini (2013). In 2014 the Italian magazine Amadeus dedicated him an issue, when he released a new recording on Fernando Sor’smasterpieces. His latest recording (2016) explores XIXth cen- tury music played on six different historical instruments. He recently played in chamber music projects with Simone Gramaglia (violist), Quartetto di Cremona, Cuarteto Casals, andhas performed contemporary music, such as El Cimarron by H.W. Henze and the Concerto for guitar and Orchestra by Alessandro Solbiati. For the past year, he has played several guitars by Torres and was the curator of the exhibition “Torres, the Stradivari of the modern guitar” at the Violin Museum in Cremona, releasing a new CD of Spanish repertoire.

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