Concert program
G. Verdi - F. Liszt: Rigoletto Paraphrase
Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”.
If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.
Liszt drew on three themes from Verdi’s “Rigoletto” in this glittering virtuoso work; its climax is the finale with the theme in the quartet from Act III “Bella figlia dell’amore”.
If one ignores the fact that at this point in the opera the betrayal of Gilda's love is made known, the work offers no sign that it was written at a time of deep depression: Liszt’s hope of legally marrying Princess von Sayn-Wittgenstein was slowly disappearing. Maybe Liszt's opera paraphrases are therefore to be understood as memories of happier times in Weimar.
G.B. Pergolesi: Symphony in F for Trombone and Piano
Originally written for Cello, Ralph Sauer's brilliant arrangement of the Pergolesi Sinfonia (Sonata) for Trombone and Piano (or Harpsichord) has become a standard work in the solo repertoire. This new edition which replaces the previous one comes with some notable changes. Below is Mr. Sauer's description. Movements one, two, and three are essentially the same. In the last movement, there are now two places where the keyboard takes over the solo line. In addition to providing much needed rest for the trombonist, it gives a change of color and a chance for the keyboard player to be the “soloist” for a few measures. The original version of the last movement is also included as an appendix for those who would rather perform the original.
Originally written for Cello, Ralph Sauer's brilliant arrangement of the Pergolesi Sinfonia (Sonata) for Trombone and Piano (or Harpsichord) has become a standard work in the solo repertoire. This new edition which replaces the previous one comes with some notable changes. Below is Mr. Sauer's description. Movements one, two, and three are essentially the same. In the last movement, there are now two places where the keyboard takes over the solo line. In addition to providing much needed rest for the trombonist, it gives a change of color and a chance for the keyboard player to be the “soloist” for a few measures. The original version of the last movement is also included as an appendix for those who would rather perform the original.
Gordon Langford: Rhapsody for Trombone and Piano.
Dating from 1975 the Rhapsody was the result of a commission by Geoffrey Brand for a new work for trombone to be performed by Don Lusher at the National Brass Band Finals Gala Concert at the Royal Albert Hall. Though no stranger to bands (Don had been brought up in the Salvation Army) this was a great honour and refreshing change for the 'doyen of trombone swing'. Born in Peterborough in 1923, the young Don was passionate about the sound of the brass band and had tried out most band instruments by the time he settled on the trombone at the age of six. The rest is history. Don was, until his recent death in 2006 simply the best ambassador for the trombone in jazz and light music one could ever imagine. A former member of the great Ted Heath Band, leader of his own Big Band (which featured many former Ted Heath players) and passionate British Trombone Society member (twice President), Don inspired generations of players and listeners alike.
Don's unique and distinctive style undoubtedly influenced the composition of this work, making it very much 'Lusher's Rhapsody', with the question of 'vibrato' perhaps presenting the most intriguing subject for discussion.
Dating from 1975 the Rhapsody was the result of a commission by Geoffrey Brand for a new work for trombone to be performed by Don Lusher at the National Brass Band Finals Gala Concert at the Royal Albert Hall. Though no stranger to bands (Don had been brought up in the Salvation Army) this was a great honour and refreshing change for the 'doyen of trombone swing'. Born in Peterborough in 1923, the young Don was passionate about the sound of the brass band and had tried out most band instruments by the time he settled on the trombone at the age of six. The rest is history. Don was, until his recent death in 2006 simply the best ambassador for the trombone in jazz and light music one could ever imagine. A former member of the great Ted Heath Band, leader of his own Big Band (which featured many former Ted Heath players) and passionate British Trombone Society member (twice President), Don inspired generations of players and listeners alike.
Don's unique and distinctive style undoubtedly influenced the composition of this work, making it very much 'Lusher's Rhapsody', with the question of 'vibrato' perhaps presenting the most intriguing subject for discussion.
F. Liszt: La Campanella - piano solo
"La campanella" (Italian for "The little bell") is the subtitle given to the third of Franz Liszt's six Grandes études de Paganini, S. 141 (1851). It is in the key of G-sharp minor. "La campanella" is a revision of an earlier version from 1838, the Études d'exécution transcendante d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a "little handbell." This is illustrated by the large intervals of sixteenth notes in the right hand.
The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced increasing dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand and muscles within the forearm and wrist. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with little to (depending on the arrangement) no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the first thirtieth and thirty-second measures.
The two red notes are 35 half-steps apart (~46cm (~1.5 ft) apart on a piano.)
However, the left-hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.
"La campanella" (Italian for "The little bell") is the subtitle given to the third of Franz Liszt's six Grandes études de Paganini, S. 141 (1851). It is in the key of G-sharp minor. "La campanella" is a revision of an earlier version from 1838, the Études d'exécution transcendante d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a "little handbell." This is illustrated by the large intervals of sixteenth notes in the right hand.
The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced increasing dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand and muscles within the forearm and wrist. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with little to (depending on the arrangement) no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the first thirtieth and thirty-second measures.
The two red notes are 35 half-steps apart (~46cm (~1.5 ft) apart on a piano.)
However, the left-hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.
G. Rossini: Tarantella for Trombone, Piano, and Brass Band
"La danza" (1835) is a patter song by Gioachino Rossini, in Tarantella napoletana time, the eighth song of the collection Les soirées musicales (1830–1835). The lyrics are by Count Carlo Pepoli (it), librettist of Vincenzo Bellini's opera I puritani. "La danza" is a stand-alone chamber vocal piece, rather than part of a larger work.
Franz Liszt transcribed it for piano; Frédéric Chopin used the song as inspiration for his Tarantelle in A-flat, Op. 43; and Ottorino Respighi featured it in La Boutique fantasque. "La danza" was loosely the original source of the popular wedding tarantella "C'è la luna mezzo mare" and its English versions "Oh! Ma-Ma!" and "Lazy Mary".
"La danza" (1835) is a patter song by Gioachino Rossini, in Tarantella napoletana time, the eighth song of the collection Les soirées musicales (1830–1835). The lyrics are by Count Carlo Pepoli (it), librettist of Vincenzo Bellini's opera I puritani. "La danza" is a stand-alone chamber vocal piece, rather than part of a larger work.
Franz Liszt transcribed it for piano; Frédéric Chopin used the song as inspiration for his Tarantelle in A-flat, Op. 43; and Ottorino Respighi featured it in La Boutique fantasque. "La danza" was loosely the original source of the popular wedding tarantella "C'è la luna mezzo mare" and its English versions "Oh! Ma-Ma!" and "Lazy Mary".
R. Leoncavallo: Vesti la Giubba from Opera "Pagliacci"
"Vesti la giubba" (Italian: [ˈvɛsti la ˈdʒubba], "Put on the costume", often referred to as "On With the Motley", from the original 1893 translation by Frederic Edward Weatherly) is a tenor aria from Ruggero Leoncavallo's 1892 opera Pagliacci. "Vesti la giubba" is sung at the conclusion of the first act, when Canio discovers his wife's infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because "the show must go on".
The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the entire notion of the "tragic clown": smiling on the outside but crying on the inside. This is still displayed today, as the clown motif often features the painted-on tear running down the cheek of the performer.
"Vesti la giubba" (Italian: [ˈvɛsti la ˈdʒubba], "Put on the costume", often referred to as "On With the Motley", from the original 1893 translation by Frederic Edward Weatherly) is a tenor aria from Ruggero Leoncavallo's 1892 opera Pagliacci. "Vesti la giubba" is sung at the conclusion of the first act, when Canio discovers his wife's infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because "the show must go on".
The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the entire notion of the "tragic clown": smiling on the outside but crying on the inside. This is still displayed today, as the clown motif often features the painted-on tear running down the cheek of the performer.
G. Puccini: "Vissi D'Arte" for Soprano, Piano, Trombone, and Ensemble
"Vissi d'arte" is a soprano aria from act 2 of the opera Tosca by Giacomo Puccini. It is sung by Floria Tosca as she thinks of her fate, how the life of her beloved, Mario Cavaradossi, is at the mercy of Baron Scarpia and why God has seemingly abandoned her. The vocal range is truly remarkable, reaching from E♭4 to B♭5.
"Vissi d'arte" is a soprano aria from act 2 of the opera Tosca by Giacomo Puccini. It is sung by Floria Tosca as she thinks of her fate, how the life of her beloved, Mario Cavaradossi, is at the mercy of Baron Scarpia and why God has seemingly abandoned her. The vocal range is truly remarkable, reaching from E♭4 to B♭5.
N. Piovani: "Life is Beautiful" for Piano, Soprano, Brass Ensemble
Life Is Beautiful is the original soundtrack album, on the Virgin Records America label, of the 1997 Academy Award-winning film Life Is Beautiful (original title: La vita è bella), starring Roberto Benigni (who won the Academy Award for Best Actor for his role as "Guido Orefice" in this film), Nicoletta Braschi and Giustino Durano. The original score was composed by Nicola Piovani, with the exception of a classical piece which figures prominently: the barcarolle "Belle nuit, ô nuit d'amour" by Jacques Offenbach.
The album won the Academy Award for Best Original Dramatic Score and was nominated for a Grammy Award in Best Instrumental Composition Written For A Motion Picture, Television Or Other Visual Media.
Life Is Beautiful is the original soundtrack album, on the Virgin Records America label, of the 1997 Academy Award-winning film Life Is Beautiful (original title: La vita è bella), starring Roberto Benigni (who won the Academy Award for Best Actor for his role as "Guido Orefice" in this film), Nicoletta Braschi and Giustino Durano. The original score was composed by Nicola Piovani, with the exception of a classical piece which figures prominently: the barcarolle "Belle nuit, ô nuit d'amour" by Jacques Offenbach.
The album won the Academy Award for Best Original Dramatic Score and was nominated for a Grammy Award in Best Instrumental Composition Written For A Motion Picture, Television Or Other Visual Media.
A. Bocelli: "Time to say Goodbye" for Soprano, Piano, Trombone, and Ensemble
‘Time to Say Goodbye’, or Con te partirò is an Italian song which has topped the charts over and over since it was first released in 1995.
Made famous by Italian tenor, Andrea Bocelli, after he debuted the song at the 1995 Sanremo Music Festival, the work has become one of the musician’s best-known.
Released on Bocelli’s second studio album, the song has become one of the best-selling singles of all time.
It was written by Francesco Sartori, an Italian trumpet player, pianist and composer, and its lyrics were by songwriter, Lucio Quarantotto.
Due to the international acclaim Bocelli found with the song, he went on to release further versions of the song in other languages.
‘Time to Say Goodbye’, or Con te partirò is an Italian song which has topped the charts over and over since it was first released in 1995.
Made famous by Italian tenor, Andrea Bocelli, after he debuted the song at the 1995 Sanremo Music Festival, the work has become one of the musician’s best-known.
Released on Bocelli’s second studio album, the song has become one of the best-selling singles of all time.
It was written by Francesco Sartori, an Italian trumpet player, pianist and composer, and its lyrics were by songwriter, Lucio Quarantotto.
Due to the international acclaim Bocelli found with the song, he went on to release further versions of the song in other languages.
O, Sole Mio - Italian Traditional for Soprano, Piano, Trombone, and Ensemble
"O sole mio" is a famous Neapolitan song from 1898, not a traditional Italian folk song, though it is often considered the most famous Italian song. The title translates to "my sun" or "my sunshine" and its music was composed by Eduardo di Capua and Alfredo Mazzucchi, with lyrics written by Giovanni Capurro. The song is characterized by its beautiful melody and has been adapted into many forms, most notably into the Elvis Presley hit "It's Now or Never".
"O sole mio" is a famous Neapolitan song from 1898, not a traditional Italian folk song, though it is often considered the most famous Italian song. The title translates to "my sun" or "my sunshine" and its music was composed by Eduardo di Capua and Alfredo Mazzucchi, with lyrics written by Giovanni Capurro. The song is characterized by its beautiful melody and has been adapted into many forms, most notably into the Elvis Presley hit "It's Now or Never".
Concert participants
Italian Tigers" (APULIA PIANO BRASS ENSEMBLE)
Italy
Italy
The APULIA PIANO BRASS ENSEMBLE is a collaboration between the Association of High Musical Culture "W. A. Mozart" of Tricase (Le) and the conservatory "U. Giordano" of Foggia with the intention of providing young musicians graduates and graduates with opportunities for artistic growth and learning by doing.
The artistic and didactic points of reference of the Ensemble Giuseppe De Marco of the Conservatory "U.Giordano" and Giovanni Calabrese of the Association "Mozart". The Ensemble has a winter tour in Puglia from Gargano to Salento , it held a concert at the in Stuttgart Parliament (Germany) on behalf of the Italian Institute of Culture.
The repertoire ranges from opera arias to soundtracks that have made the history of film music through the songs of the Neapolitan and Apulian tradition.
The artistic and didactic points of reference of the Ensemble Giuseppe De Marco of the Conservatory "U.Giordano" and Giovanni Calabrese of the Association "Mozart". The Ensemble has a winter tour in Puglia from Gargano to Salento , it held a concert at the in Stuttgart Parliament (Germany) on behalf of the Italian Institute of Culture.
The repertoire ranges from opera arias to soundtracks that have made the history of film music through the songs of the Neapolitan and Apulian tradition.
Malena Towers
Soprano, Cuba/USA
Soprano, Malena Towers received with honors her Master’s in Music with a concentration in Voice Performance from Southwestern Baptist Theological Seminary, 2016. She earned her Bachelor in Music in Voice Performance from the High Institute of Arts in Havana, Cuba in 2010. Malena has performed Opera, Zarzuelas, Classical concerts and taught around the United States and overseas, in Austria, Israel, Spain, Ecuador, Cuba, and Venezuela.
She became the Finalist at the International Voice Competition in Jerusalem Opera Program, 2018. In 2016, she won the Outstanding Performer of the Year Award in Texas. In March 2015 she won the First Place and the McKinney’s award at the National Association of Teachers and Singers (NATS) Competition in the Dallas/Fort Worth, Texas Chapter.
**Most recent roles:** Susanna (Le Nozze Di Figaro), Zerlina (Don Giovanni), Gilda (Rigoletto), Pamina (Die Zauberflöte), Papagena (Die Zauberflöte), First Lady (Die Zauberflöte), Fiordiligi (Cosi Fan Tutte), Aglae (Echo et Narcisse), Sophie (Der Rosenkavalier), Lauretta (Gianni Schicchi), Fairy Godmother (Cinderella), Norina (Don Pasquale), Musetta (La Boheme).
**Venues:** Carnegie Hall, Lincoln Center and National Opera Center in New York, Amphitheater of Natnanyia, Israel, Theater at Brooklyn Music School, National Theater of Havana, Cuba, Oratorio San Felipe Neri, Havana, Cuba, Club Italo Hall in Guayana, Venezuela, Atlantic Music Festival Opera production at Colby College Theater in Maine, Feinberg Messianic Center, Brooklyn, Reynolds Auditorium at Southwestern Baptist Theological Seminary, Fort Worth , Texas, AIMS Festival in Austria.
She performs annually her Classical Operatic Concert at Middletown Art Center, NJ for a charity cause. She performs and teaches Voice at her studio “It’s Music.” She is fluent in English, Spanish, and Italian. She also plays piano and conducts choirs proficiently.
She became the Finalist at the International Voice Competition in Jerusalem Opera Program, 2018. In 2016, she won the Outstanding Performer of the Year Award in Texas. In March 2015 she won the First Place and the McKinney’s award at the National Association of Teachers and Singers (NATS) Competition in the Dallas/Fort Worth, Texas Chapter.
**Most recent roles:** Susanna (Le Nozze Di Figaro), Zerlina (Don Giovanni), Gilda (Rigoletto), Pamina (Die Zauberflöte), Papagena (Die Zauberflöte), First Lady (Die Zauberflöte), Fiordiligi (Cosi Fan Tutte), Aglae (Echo et Narcisse), Sophie (Der Rosenkavalier), Lauretta (Gianni Schicchi), Fairy Godmother (Cinderella), Norina (Don Pasquale), Musetta (La Boheme).
**Venues:** Carnegie Hall, Lincoln Center and National Opera Center in New York, Amphitheater of Natnanyia, Israel, Theater at Brooklyn Music School, National Theater of Havana, Cuba, Oratorio San Felipe Neri, Havana, Cuba, Club Italo Hall in Guayana, Venezuela, Atlantic Music Festival Opera production at Colby College Theater in Maine, Feinberg Messianic Center, Brooklyn, Reynolds Auditorium at Southwestern Baptist Theological Seminary, Fort Worth , Texas, AIMS Festival in Austria.
She performs annually her Classical Operatic Concert at Middletown Art Center, NJ for a charity cause. She performs and teaches Voice at her studio “It’s Music.” She is fluent in English, Spanish, and Italian. She also plays piano and conducts choirs proficiently.
Michael Bulychev-Okser
Piano, USA
Michael Bulychev-Okser is an internationally
acclaimed American pianist, composer, and producer. A recipient of "Who's Who in Music", Mr. Bulychev-Okser performed at the world's most prestigious stages: Carnegie Hall, Merkin Hall, Kennedy Center, La Salle Pleyel (France), Wigmore Hall (London), Rachmaninov Hall (Russia), Suur Saal (Estonia), and Centermex Theater (Mexico).
Bulychev- Okser organizes international music events: Gershwin International Music competition in New York and Classical Hugs Music Festival in Estonia. Michael is a guest performer at numerous music festivals, competitions, and concert series in England, France, Germany, Mexico, Israel, Estonia, Georgia, Ukraine, Austria, Finland, South Korea, China, Serbia, Singapore, and the United States.
In 2022, Michael Bulychev-Okser performed
Mendelssohn's Double Concerto with a renowned virtuoso violinist, Shlomo Mintz. Michael Bulychev-Okser is a Professor of Piano and Chamber Ensembles at Lucy Moses School at Kaufman Music Center.
acclaimed American pianist, composer, and producer. A recipient of "Who's Who in Music", Mr. Bulychev-Okser performed at the world's most prestigious stages: Carnegie Hall, Merkin Hall, Kennedy Center, La Salle Pleyel (France), Wigmore Hall (London), Rachmaninov Hall (Russia), Suur Saal (Estonia), and Centermex Theater (Mexico).
Bulychev- Okser organizes international music events: Gershwin International Music competition in New York and Classical Hugs Music Festival in Estonia. Michael is a guest performer at numerous music festivals, competitions, and concert series in England, France, Germany, Mexico, Israel, Estonia, Georgia, Ukraine, Austria, Finland, South Korea, China, Serbia, Singapore, and the United States.
In 2022, Michael Bulychev-Okser performed
Mendelssohn's Double Concerto with a renowned virtuoso violinist, Shlomo Mintz. Michael Bulychev-Okser is a Professor of Piano and Chamber Ensembles at Lucy Moses School at Kaufman Music Center.
Giovanni Calabrese
Piano, Italy
Piano, Italy
Giovanni Calabrese graduated brilliantly in piano and graduated in chamber music under the guidance of Professor Mariagrazia De Leo at the Conservatory "T. Schipa" in Lecce.
Mr. Calabrese is president of the Association of High Musical Culture "W. A. Mozart" and artistic director of the International Artistic Centre of the Mediterranean, of the International Artistic Festival Artistic Harmonies and of the International Competition "Musicarte". He was artistic director of the Salento stages of the ICMC Festival (Positano, Paris and Shanghai). He has more than one hundred concerts both as a soloist and in the formation of vocal and instrumental chamber music.
Giovanni Calabrese has performed in Italy, as well as in Belgium, Germany, and the United States among other countries.
He specializes in performances of songs by Apulian authors and is appreciated for his interpretations of contemporary music.
Mr. Calabrese is president of the Association of High Musical Culture "W. A. Mozart" and artistic director of the International Artistic Centre of the Mediterranean, of the International Artistic Festival Artistic Harmonies and of the International Competition "Musicarte". He was artistic director of the Salento stages of the ICMC Festival (Positano, Paris and Shanghai). He has more than one hundred concerts both as a soloist and in the formation of vocal and instrumental chamber music.
Giovanni Calabrese has performed in Italy, as well as in Belgium, Germany, and the United States among other countries.
He specializes in performances of songs by Apulian authors and is appreciated for his interpretations of contemporary music.
Giuseppe De Marco
Trombone, Italy
Trombone, Italy
Giuseppe De Marco, born in Tricase (LE) on 19.08.1972, began his studies at the "CRSEC" with Maestro
Giuseppe De Giorgi and graduated in Trombone, with flying colors, in 1993 at the "Conservatory of State
Music" Tito Schipa " in Lecce "with Maestro Giuseppe Candido. He then continued his studies with Maestro
Andrea Conti (1st Trombone at the "Accademia Nazionale di Santa Cecilia ").
He has attended numerous Masterclasses including those with Michael Mulcahy (2nd Trombone "CSO"),
Charles Vernon (Bass Trombone "CSO"), Rex Martin (Northwestern University Chicago), Jay Friedman (1st
Trombone "C .SO") Andrea Conti ( 1st Trombone "Accademia Santa Cecilia"), Daniele Morandini (1st
Trombone Teatro alla Scala") and others.
In 2010 he attended the seminar Alessi, held by Joseph Alessi (1st trombone of the New York
Philharmonic).
Since 1996 he has been 1 st Trombone of the "Orchestra of the ICO Foundation" Tito Schipa "of Lecce".
He has worked and collaborated with numerous institutional associations such as "Petruzzelli di Bari",
"Accademia Nazionale Santa Cecilia", "Orchestra Internazionale d'Italia". He has also worked with many
conductors such as P. Bellugi, G. Kuhn, D. Renzetti, A. Ceccato, R. Bonynge, V. Delmann, A. Guingal, S.
Ranzani, G. Györyvanyi Rath, E. Mazzola, H Schellenberger, F.Luisi, S. Accardo, M. Panni, A. Pappano, D.
Gatti, Sir J. Conlon and many others.
He has recorded numerous Cds and participated in several television broadcasts on "Rai Uno", "Canale 5"
and "Telemontecarlo".
He is also a soloist and is part of several chamber music groups such as the Ensemble del Sud, directed by
Maestro Marcello Panni.
From 2002 to 2014 he was professor of Trumpet and Trombone at the "Conservatory of Music of Ceglie
Messapica (Br)", part of the "Conservatory of State Music" Tito Schipa "of Lecce". Currently he is professor
of Trombone at the "Umberto Giordano" Conservatory in Foggia.
Giuseppe De Giorgi and graduated in Trombone, with flying colors, in 1993 at the "Conservatory of State
Music" Tito Schipa " in Lecce "with Maestro Giuseppe Candido. He then continued his studies with Maestro
Andrea Conti (1st Trombone at the "Accademia Nazionale di Santa Cecilia ").
He has attended numerous Masterclasses including those with Michael Mulcahy (2nd Trombone "CSO"),
Charles Vernon (Bass Trombone "CSO"), Rex Martin (Northwestern University Chicago), Jay Friedman (1st
Trombone "C .SO") Andrea Conti ( 1st Trombone "Accademia Santa Cecilia"), Daniele Morandini (1st
Trombone Teatro alla Scala") and others.
In 2010 he attended the seminar Alessi, held by Joseph Alessi (1st trombone of the New York
Philharmonic).
Since 1996 he has been 1 st Trombone of the "Orchestra of the ICO Foundation" Tito Schipa "of Lecce".
He has worked and collaborated with numerous institutional associations such as "Petruzzelli di Bari",
"Accademia Nazionale Santa Cecilia", "Orchestra Internazionale d'Italia". He has also worked with many
conductors such as P. Bellugi, G. Kuhn, D. Renzetti, A. Ceccato, R. Bonynge, V. Delmann, A. Guingal, S.
Ranzani, G. Györyvanyi Rath, E. Mazzola, H Schellenberger, F.Luisi, S. Accardo, M. Panni, A. Pappano, D.
Gatti, Sir J. Conlon and many others.
He has recorded numerous Cds and participated in several television broadcasts on "Rai Uno", "Canale 5"
and "Telemontecarlo".
He is also a soloist and is part of several chamber music groups such as the Ensemble del Sud, directed by
Maestro Marcello Panni.
From 2002 to 2014 he was professor of Trumpet and Trombone at the "Conservatory of Music of Ceglie
Messapica (Br)", part of the "Conservatory of State Music" Tito Schipa "of Lecce". Currently he is professor
of Trombone at the "Umberto Giordano" Conservatory in Foggia.
Tickets
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Contact details
classicalhugs@gmail.com
Phone: 1 (917) 535-9362
Phone: 1 (917) 535-9362