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PICCOLO CONCERTOS This recording is inspired by the conviction that the piccolo, which is the smallest
member of the flute family, can be more than just a voice in the orchestra. Like other
instruments, it also lends itself to solo performance, because it is endowed with the
ability to communicate, captivate, move and seduce. Much has changed since the days
Concerto for Piccolo and Orchestra 1756-1791
when the role of the piccolo was largely relegated to the sphere of military bands or the
Op.50 Oboe quartet in F K.370/368b, arranged need to conjure up the sound of birdsong. During the course of the twentieth century
1. I. Andante comodo – Allegro – for piccolo important composers such as Strauss, Mahler and Shostakovich considerably widened
Tempo primo 9’43 5. I. Allegro 6’30 its expressive scope, thereby demanding of the performer the technical skills necessary
2. II. Adagio 10’54 6. II. Adagio 2’38 for producing new colours, timbres and dynamics. The past 40 years have also seen an
3. III. Presto 4’15 7. III. Rondeau – Allegro 4’11 increasing number of solo compositions for the piccolo, and in this album our aim has
Nicola Mazzanti Keefe piccolo Alessandro Visintini Nagahara Mini been to provide listeners with an overview of the new expressive reach of the instrument,
Stefano Ferrario violin within the framework of traditional musical notation.
CARLO GALANTE b.1959 Gabriele Marangoni viola
4. Gli Usignoli dell’Imperatore – Alejandro Biancotti cello Lowell Liebermann: Concerto for Piccolo and Orchestra Op. 50
Piccolo concerto This work is arguably the most representative of the new developments in composition
per 2 ottavini, percussioni e ALESSANDRO CAVICCHI b.1957 for the piccolo, to the extent that it has become parte of the repertoire of any serious
orchestra d'archi 15’32 As night progresses –
8.  piccolo player. Liebermann, who was born in New York in 1961 and studied at the
Alessandro Visintini & Nicola Mazzanti for two Minis & orchestra 11’41 Julliard School, is an eclectic composer who mixes polytonality and stylistic traits of
Nagahara Mini Nicola Mazzanti & Alessandro Visintini different origins within what is essentially a traditional framework. In his Concerto for
Domenico Cagnacci percussion Nagahara Mini Piccolo he takes on the seminal challenge of expanding the chromatic potential of the
instrument by focusing on its more recondite hues. To this end he emphasizes not so
much the virtuoso effects and brilliance of the instrument as the sweetly intimate sound
Haydn Orchestra of Bolzano and Trento of its lower octaves. Liebermann’s music often reveals a hint of romanticism deriving
Marco Angius conductor from his use of curiously changeable harmonies. This is the salient feature of the first
two of the three movements. Unhurried as it is, the motif that opens the concerto is
unsettling and mysterious in a way that leaves a strong impression on the listener.
Total time: 65’45 Constructed in 5/4 time, it is based on incomplete, plaintive quintuplets. With constantly
Recording: 30 October - 3 November increasing virtuoso skill, the central Allegro continues the celebration of the number 5
2015, Haydn Orchestra Auditorium, with five variations on the same harmonic base. The return to the initial subject brings
Bolzano/Bozen, Italy the movement to a close with the melody in the third octave, which is highly unusual
Recording Engineer: Matteo Costa
and extremely demanding for the piccolo. Slightly longer than the opening movement,
Cover: Landscape at Ceret, by Juan Gris
p & © 2016 Brilliant Classics
the Adagio is the expressive heart of the work, a compendium of every possible timbre dissolves towards the end of the piece, with a sequence of violent notes on the drum that
that can be obtained from the instrument. In the taxing cadenza, Liebermann also puts seem to tear the sound fabric of the concerto apart. At this point the music is reduced
the onomatopoeic potential of the piccolo to good use. The final movement is a Presto to an empty design that soon dissolves in the pizzicato murmur of the strings. (Carlo
of astounding bravura, comprising echoes of Beethoven’s Symphony No. 3, the Eroica, Galante)
and Mozart’s Symphony No. 40. As such, it is also a homage to Dmitri Shostakovich,
who included the same Mozartian theme in his Violin Concerto No. 2. As for the third Alessandro Cavicchi: As night progresses for 2 Mini and orchestra
citation, it derives from Sousa’s Stars and Stripes Forever, a piece which piccolo players This piece was commissioned by the Nagahara Flutes of Boston, who developed the
find as daunting as certain of Shostakovich’s solo passages. Nagahara Mini as an instrument. Akin in interior structure to the flute, the Mini
provides piccolo players with three extra notes in the lower register. I had already
Carlo Galante: Gli Usignoli dell’Imperatore – piccolo concerto for two piccolos, written for this instrument and piano (“To B or not to B?”), a piece that was presented
percussion and string orchestra by Nicola Mazzanti in August 2014 in Chicago, within the framework of the NFA
There’s a famous fable that tells the tale of a distant emperor who falls deeply in love Convention. It was the first ever piece written for the Mini, and it gave rise to this latter
with the enchanting voice of a nightingale living in the park surrounding his palace. Not commission.
content with that wonderful sound, however, he also has a clockwork nightingale built The title “As night progresses” is intended as a homage to progressive rock, which I
whose song he ultimately prefers to the original. believe to be one of the most meaningful musical phenomena of the non-classic sphere.
Galante’s concerto mirrors this folktale, though not literally. Since music is the The piece consists of three main sections: more lively the first and last, which contain
quintessential abstract art, it cannot tell a story as such. Yet it is certainly able to evoke rhythmic and harmonic elements that can be considered elaborations of the impact made
different worlds and atmospheres in powerful terms. Two details pertaining to the by prog on my musical formation; and a central section, dedicated to the melodious,
narration made a particular impression on me: first and foremost, the classical pairing of expressive potential of the Mini and orchestra, in which the harmonies developed are
the song of the nightingale with the silvery, sharp, penetrating voice of the piccolo; and closer to the variegated world of jazz-ballads. In actual fact the incipit of the piece,
secondly, the clash between what is “natural” and what is “artificial”, in other words which is really the main subject, derives from a series consisting of a few bars conceived
the conflict between the concepts of “animation” and what is “inanimate”, which is the for flute and piano that had been bubbling quietly on the back burner since 2009.
symbolic focus of the tale itself. Perhaps they were just waiting for the creation of the right instrument… (Alessandro
The voice of the piccolo undergoes numerous transformations, turning into the Cavicchi)
brilliant, hard artificiality of a musical box, and then softening as it returns to innate
melodiousness. This change is emphasized by the use of the glockenspiel, followed by the Wolfgang Amadeus Mozart: Oboe quartet in F K.370/368b, arranged for piccolo
softer tones of the strings. The concerto is not classical in form, in that it is made up of I my activity as a piccolo player I often think about the need for new works and an
only two movements. The first part is slow and expressive, leading into a contrastingly expanded repertoire that could do justice to both instrument and performer.
lively second section full of kinetic energy in which the insistent rhythm sometimes The present recording, which is largely devoted to works written ad hoc for the
gives way to echoes of the lyricism of the first part. The fundamental balance between instrument, also comprises the most important existing concerto for piccolo solo.
the harder, more abstract musical figures and the softer, melodious passages suddenly However, I felt it would also gain in scope with the addition of my own transcription of
Mozart’s oboe quartet, a gem of a piece that has never previously been recorded with the L’idea che ha mosso la registrazione di questo album è che l’ottavino, la taglia piccola
piccolo, despite the fact that the lively, virtuoso score is particularly well suited to the del flauto non sia solo una voce orchestrale ma pure una voce solistica, uno strumento
instrument. I believe the outcome to be extremely interesting for piccolo players intent che, al pari di tutti gli altri possa comunicare, affascinare, emozionare, sedurre. Dal
on broadening the available repertoire and enjoying themselves as they make music primo uso in orchestra tipicamente “militare” o “ornitologico”, l’ottavino nel corso
together. (Alessandro Visintini) del XX secolo per merito di grandi compositori come Strauss, Mahler, Shostakovich
ha iniziato un percorso sempre più espressivo, allargando le possibilità strumentali e
The smallest member of the flute family, the piccolo first appeared in certain works by richiedendo all’interprete una sempre maggiore capacità di gestione di nuovi colori,
Jean Philippe Rameau in the first half of the 1700s. It was only at the beginning of the timbri e dinamiche. Negli ultimi 40 anni poi stiamo assistendo ad una sempre maggiore
1800s, however, that use of the instrument began to spread, culminating in a permanent produzione solistica per questo strumento. In questo album abbiamo presentato quasi
place within the orchestra. una panoramica delle nuove possibilità espressive (pur rimanendo nel campo della
In construction the piccolo initially followed along the lines of earlier flutes, and it notazione tradizionale) dell’ottavino.
was only towards the end of the 1800s that the Boehm bore mechanism was introduced,
becoming standard during the following century. Though present-day piccolos are Lowell Liebermann: Concerto for Piccolo and Orchestra Op.50
still built with the Boehm bore, they have maintained the pipe structure of the flute of Il concerto per piccolo e orchestra Op.50 di Lowell Liebermann è forse l’opera che più
the pre-Boehm era. Largely built in wood, the head is cylindrical, whereas the body is rappresenta questo percorso ed è entrata a far parte del repertorio di chiunque si sia
conical, and the lowest note is D. dedicato seriamente all’ottavino. Liebermann, compositore nato a New York nel 1961
What is different about the instrument used for this recording is the fact that the e studente della Jilliard School, è eclettico e, pur rimanendo spesso in una struttura
pipe mirrors that of modern flutes, with a cylindrical body, a truncated cone head and tradizionale, mischia politonalità e stilemi di altri autori.Il suo Concerto per ottavino
a complete mechanism extended to low B. To achieve this has meant opting for greater affronta lo sfida più importante: utilizzare in un concerto solistico i colori meno
thickness of wood and redesigning the construction. The outcome is an instrument celebrati del piccolo. Liebermann ha deciso di sottolineare non tanto il virtuosismo e
with far more harmonics, greater homogeneity of timbre and improved performance la brillantezza quanto la tenerezza e il suono intimo delle ottave più basse.La musica
potential. di Liebermann spesso ha un sapore dolce e romantico che fa molto uso di armonie
To play an instrument of this sort suggests not only rethinking the role of the piccolo inaspettatamente mutevoli. Questa è la caratteristica predominante dei primi due dei
within the orchestra, but also new perceptions of its possible role as a solo instrument. It tre movimenti. L’inquietante e misterioso motivo che apre il concerto,in un comodo
is thus essential to expand the specific repertoire for the instrument, and adapt existing tempo, è forse la cosa che rimane più impressa all’ascoltatore. Costruito in 5/4, si
works written for other instruments that can at last now also be performed on the avvale di elegiache quintine incomplete. L’Allegro centrale continua la celebrazione del
piccolo. numero 5 con cinque variazioni sulla stessa base armonica utilizzando un virtuosismo
© Nicola Mazzanti sempre cresscente. Il ritorno del tema iniziale fa chiudere il movimento con la melodia
Translated by Kate Singleton in terza ottava, una difficoltà estrema e assolutamente inusuale per il piccolo.Il
movimento Adagio è leggermente più lungo del movimento di apertura ed. È il cuore
espressivo dell’opera, e utilizza davvero ogni possibilità timbrica dell’ottavino. L’aspetto della prima parte è rievocato, ma con discrezione. Il sostanziale equilibrio tra figure
onomatopeico, al quale Liebermann non si sottrae, e utilizzato nella difficile cadenzaIl musicali più dure e astratte con altre morbide e cantabili si spezza drammaticamente
movimento finale, Il terzo movimento, Presto, è il momento di bravura atteso. Costruito quasi alla fine del brano con una sequenza di violenti battiti della gran cassa che
con citazioni dalla Sinfonia Eroica di Beethoven e dalla Sinfonia n. 40 di Mozart, è sembrano letteralmente spezzare il tessuto sonoro del concerto; la musica ormai svuotata
anche un omaggio a Dmitri Shostakovich, che ha citato lo stesso tema mozartiano nel diventa, nelle ultime battute, puro disegno per poi spegnersi rapidamente nel brusio
suo Secondo Concerto per violino. La terza citazione, però, è presa da Stars and Stripes pizzicato degli archi. (Carlo Galante)
Forever di Sousa, un brano che al pari degli assolo di Shostakovich, è tra i più temuti
dagli ottavinisti. Alessandro Cavicchi: As night progresses per 2 Mini e orchestra
Questo brano è stato commissionato dalla Nagahara Flutes di Boston, ideatrice dello
Carlo Galante: Gli Usignoli dell’Imperatore - piccolo concerto per 2 ottavini, percussioni strumento (il Nagahara Mini) che, con una struttura interna identica al flauto, permette
e orchestra d’archi agli ottavini di avere tre note in più a disposizione nel registro basso. La commissione è
In una famosa fiaba si racconta di un remoto imperatore perdutamente innamorato scaturita dall’ascolto del primo brano da me scritto per questo strumento e pianoforte
dell’incantevole voce dell’usignolo che vive nel parco del suo palazzo, ma l’imperatore, (To B or not to B?) presentato da Nicola Mazzanti nell’agosto 2014 a Chicago
non pago di quell’incanto sonoro, si fa costruire un usignolo meccanico la cui voce all’interno della Convention della NFA. Si trattava, in effetti, del primo brano mai scritto
incomparabile finirà per essere preferita a quella del suo sosia naturale. in assoluto per Mini.
La suggestione letteraria di questa fiaba è l’origine della scrittura di questo concerto; Il titolo As night progress vuole omaggiare una delle stagioni musicali per me
certo, non in senso letterale, la musica, arte astratta per eccellenza, non è in grado di più significative nel mondo extra-colto, il progressive-rock. E quindi nel brano,
raccontare una storia, è capace però di evocarla in maniera potente. Due particolari, sostanzialmente tripartito, le due sezioni esterne, più movimentate, contengono spunti
riconducibili allo svolgersi della trama, mi hanno particolarmente colpito: il primo, più ritmici e armonici che possono considerarsi elaborazioni di ciò che il prog- ha lasciato
evidente, è l’accostamento classico della voce dell’usignolo con quella nitida, argentina, nella mia formazione musicale. La parte centrale, dedicata alla cantabilità ed espressività
sopracuta e penetrante dell’ottavino. Il secondo, forse è più sottile, e lo scontro evocato del Mini e dell’orchestra, si sviluppa invece su armonie più legate al mondo variegato
simbolicamente dalla fiaba tra ciò che è “naturale” con ciò che è “artificiale”, o meglio delle jazz-ballad. E pensare che l’incipit del brano, in pratica il tema principale, risale
tra il concetto di “animato” con il suo contrario “inanimato”. ad una serie di poche battute, concepite per flauto e pianoforte, rimaste nel cassetto
La voce degli ottavini si trasforma di volta in volta nella brillante e artificiale dall’estate 2009: forse attendevano la creazione dello strumento giusto… (Alessandro
durezza di un carillon, complice anche l’accostamento con la sonorità tintinnante Cavicchi)
del glockenspiel, per poi rapidamente ammorbidirsi e ritrovare la sua innata e nitida
cantabilità, alla quale la compagine degli archi aggiunge e regala ombre e qualche Wolfagang Amadeus Mozart: Oboe quartet in F K.370/368b, arranged for piccolo
inquietudine. Il concerto non ha una forma classica; si costituisce di due soli movimenti: Spesso, nella mia attività di ottavinista, mi sono fermato a pensare alla necessità di
a una prima parte lenta (espressivo) ne segue un’altra, senza soluzione di continuità, repertori nuovi che possano rendere giustizia a strumento e strumentista.
dal carattere opposto, assai vivace e marcata. L’energia cinetica di questo secondo All’interno di questa incisione, oltre ai brani scritti appositamente per l’occasione ed
movimento incontra, nel suo implacabile percorso ritmico, alcune soste, il cui lirismo al principale concerto del repertorio solistico per ottavino, ho voluto inserire come mio
contributo personale il quartetto per oboe di Mozart, piccolo capolavoro mai inciso con Born in 1960 in Bolzano, Alessandro Visintini
l’ottavino, ma che presenta una scrittura brillante e virtuosistica assolutamente adatta studied flute with Luigi Palmisano in the Bolzano
al nostro strumento. Il risultato mi sembra estremamente interessante e stimolante per Conservatoire, graduating in 1978. In 2007 he
gli ottavinisti che siano interessati ad ampliare il repertorio a disposizione ed a divertirsi was awarded a first class honours degree in Music
facendo musica assieme. (Alessandro Visintini) at Trento Conservatoire, where he studied under
Emilio Galante.
L’ottavino, chiamato anche flauto piccolo, è la più piccola taglia del flauto traverso. He has also studied with Arrigo Tassinari,
Le prime tracce dell’uso di flauti traversi all’ottava si trova in alcune opere di Jean Christian Lardé, Irena Grafenauer, Aurèle Nicolet,
Philippe Rameau nella prima metà del Settecento, ma lo strumento inizia a diffondersi, e Andreas Blau, Peter Lukas Graf, Davide Formisano
quindi ad avere un posto stabile in orchestra, solo all’inizio dell’800. and Thies Roorda.
Fino a tutto l’800 l’ottavino mantenne la costruzione del flauti precedenti, e solo alla Finalist in numerous competitions for the role
fine del secolo si iniziò a costruirlo con la meccanica Boehm, che comunque diventerà of first solo flute and piccolo in many orchestras
lo standard solo durante il ‘900. Gli ottavini attuali, sebbene siano costruiti col sistema (Teatro alla Scala in Milan, Orchestra Rai in Rome,
Boehm, hanno mantenuto la struttura del tubo del flauto precedente la riforma di Opera House in Genoa, Pomeriggi Musicali in
Boehm. La testata infatti è cilindrica mentre il corpo è conico a chiudere con nota più Milan), in 1978 he was appointed piccolo and
bassa il re. La costruzione è quasi esclusivamente in legno. tutti flute in the Orchestra Sinfonica “Haydn”
di Bolzano e Trento, performing in over 5000
La novità dello strumento utilizzato in questa registrazione è la costruzione del tubo concerts, and also playing principal flute and
alla stessa maniera dei flauti moderni, con corpo cilindrico, testata a tronco di cono piccolo solo.
(o curve assai più complesse), meccanica completa ed estensione fino al si basso. Per He has played under conductors such as Claudio Abbado, Othmar Suitner, Gustav
ottenere ciò si è utilizzato uno spessore del legno molto maggiore e si è dovuta ripensare Kuhn, Helmuth Rilling, Neville Marriner, Jeffrey Tate, Yves Abel, Jesus Lopez-Cobos,
completamente la costruzione. Claudio Scimone, Alberto Zedda, Daniel Oren. He has toured throughout Italy (Rome,
Il risultato è uno strumento con molti più armonici, omogeneità di timbro e facilità di Milan, Venice, Verona, Palermo, Padua, Catania) and abroad (USA, Japan, Germany,
emissione come mai prima. Austria, Hungary, Holland), playing in famous concert halls such as the Musikverein
Avere fra le mani uno strumento simile permette di ripensare il ruolo dell’ottavino in in Vienna, Vigado in Budapest, the Great Hall at the Mozarteum in Salzburg, the
orchestra ma anche di inserirlo fra gli strumenti degni di avere una vita artistica propria. Beethovenhalle in Bonn, the Philharmonic Hall in Hamburg and Bunkamura Theatre in
Da qui la necessità di avere opere scritte appositamente, che possano valorizzare le Tokyo.
caratteristiche ampliate, ma anche di “rubare” ad altri strumenti opere che oggi si può He has also played in many video and audio recordings, and has taught the flute at
finalmente pensare di eseguire anche con l’ottavino. the Music School of South Tyrol and Trento Conservatory of Music.
© Nicola Mazzanti
Nicola Mazzanti currently master classes for flute associations and music schools in Italy and abroad. He has
serves as Solo Piccolo released three solo albums. His website is a regular destination for dedicated piccolo
in the Maggio Musicale players. His book “The Mazzanti Method” for piccolo, published in 2014 by Theodore
Fiorentino orchestra, a Presser, has been welcomed as a milestone in the teaching of this instrument.
position he has held since Mr. Mazzanti is a 1982 graduate of the “Luigi Cherubini” Conservatoire in Florence,
1988. Many composers where he studied with Sergio Giambi. He later took lessons or participated in master
have written pieces for classes given by James Galway, Aurèle Nicolet, Raymond Guiot, Emmanuel Pahud
him, for piccolo and piano and Mario Ancillotti. In 1986, he earned an additional degree in Music History with
or orchestral concerts. Honours from D.A.M.S. (University of Arts and Music).
His name is associated
with many premières. As a
soloist, he has performed The Haydn Orchestra was founded in 1960 by the provincial government and local
with orchestras such as authorities of Trento and Bolzano. It has performed in principal Italian concert venues
“I Pomeriggi Musicali” and has participated in numerous international festivals, including the Haydn Festival
of Milan, the Malta Philharmonic Orchestra, the Florence Symphony Orchestra and in Esterháza, the Bregenz Festival, the Arturo Benedetti Michelangeli Festival in Brescia
Akronos of Prato. and Bergamo, the Mozart Festival in Rovereto, the Settimane musicali Gustav Mahler
Mazzanti performs frequently as both a flute and piccolo soloist and in chamber in Dobbiaco, the Antonio Pedrotti Competition for Conductors in Trento, the Tiroler
ensembles in Italy and abroad. In advocating the role of the piccolo as a solo instrument, Festspiele in Erl and the Ferruccio Busoni Piano Competition in Bolzano.
he performed at the 2003 Vienna Flute Festival, the 2005 National Flute Association The Haydn Orchestra has toured in the United States, Austria, Germany, Hungary,
Convention in San Diego, California, the 2009 Convention in New York, that of 2013 the Netherlands, and Switzerland. In its nearly fifty-year-long history, it has performed a
in New Orleans, the 2006 International Convention of the British Flute Society, the first vast number of works across all musical genres, ranging from Baroque to contemporary
International Piccolo Symposium in Omaha, Nebraska (USA) in 2007, the 2009 Serbian composers, including Dallapiccola, Nono, Berio and Donatoni, who entrusted it with
Flute Festival in Belgrade, in the 2011 and 2012 Iowa Piccolo Intensive, in the 2011 the first performance of their works. The orchestra has devoted particular attention
First European Piccolo Festival in Slovenia, and in several Italian Flute Conventions. In to an often neglected repertoire, also promoting the rediscovery of precious long-
2011 and 2012 he toured in USA (California, Michigan and Iowa) teaching and playing forgotten manuscripts, such as the Dixit Dominus by Domenico Cimarosa, performed
recitals. Sir James Galway has invited him to perform at his master classes in Weggis for the first time in the modern era at the Thirtieth Festival of Sacred Music in Bolzano/
(Switzerland) every year since 2008. Trento, or the Messe solennelle by Hector Berlioz, of which it gave the first modern-
Since 2001, he has held annual piccolo courses at the “MusicArea” association in day performance. The orchestra has appeared with many great conductors, including
Florence and at the Italian Flute Academy in Rome. Since 2009 he has taught piccolo at Claudio Abbado and Riccardo Muti, and collaborated with distinguished soloists.
the Hochshule in Luzern, since 2011 at the Music Conservatoire in Lugano (Switzerland) In 2003 Gustav Kuhn was appointed artistic director of the orchestra. Under his
and since 2013 at the “Verdi” Conservatoire in Milan. He is frequently invited to give direction the Haydn Orchestra performed all nine Beethoven symphonies in the
season 2005/06. This cycle has also been recorded by col legno classics, meeting with He founded and is the Music Director of the ensemble Algoritmo (Amadeus
widespread critical and public acclaim. In December 2007, this success was confirmed Prize 2007 for the best recording of the year for Mixtim by Ivan Fedele recorded by
in Salzburg, where the orchestra performed the symphonies again. In summer 2006 the Stradivarius). Since 2008 he has worked closely with the Accademia Nazionale di
Haydn Orchestra debuted with Torvaldo e Dorliska at the 27th Rossini Opera Festival Santa Cecilia, where in 2011 he conducted a new production of The Cunning Little
in Pesaro, where it was invited again in 2007 to perform in productions of La gazza Vixen by Jánácek. He was Antonio Pappano’s assistant for the recording of Rossini’s
ladra, which was awarded the French Diapason d’or prize, Turco in Italia, Edipo a Guillaume Tell (Emi Records 2011). He holds master classes in conducting at the Music
Colono and Le nozze di Teti e Peleo. In August, 2008, the Haydn Orchestra performed Conservatoire in Lugano.
Maometto II and L’equivoco stravagante in Pesaro while in September it inaugurated Marco Angius is the author of Come avvicinare il silenzio, a study of Salvatore
the 63rd Sagra Musicale Umbra Festival in Perugia with Beethoven’s Missa solemnis, Sciarrino’s compositions (RAI ERI 2007), Ali di Cantor (The music of Ivan Fedele,
conducted by Gustav Kuhn. Suvini Zerboni 2012), as well as of several works translated into different languages
In December, 2008, the Orchestra was again invited to Salzburg to perform the (Electa, Salzburger Festspiele, l’Harmattan). He has recorded for many labels: Euroarts
four Brahms symphonies, the Missa solemnis and Beethoven’s Ninth Symphony at the (Sciarrino Luci mie traditrici), Neos, Stradivarius, Die Schachtel, RAI Trade, Vdm
Mozarteum, conducted by Gustav Kuhn. In August, 2009, the Orchestra performed La Records.
scala di seta and Il viaggio a Reims in Pesaro during the 30th Rossini Opera Festival. Since 2011 he has been artistic coordinator of the Ensemble Accademia Teatro
The Haydn Orchestra has a busy recording schedule for Agora, Arts, col legno alla Scala, where he conducts works from the contemporary as well as the operatic
classics, cpo, Dynamic, Multigram, Naxos, RCA, Universal, VMC Classics and Zecchini, repertoire. Recent productions include Jakob Lenz by Wolfgang Rihm, Maderna’s Don
and has also appeared several times on RAI (the Italian State Broadcasting Corporation), Perlimplin at the Teatro Comunale in Bologna, Sciarrino’s Aspern (Venice, La Fenice),
both the radio and the TV channels. Battistelli’s L’imbalsamatore (Milano Musica/Accademia Teatro alla Scala).

Marco Angius met with critical acclaim conducting the world première of Studi per
l’intonazione del mare by Salvatore Sciarrino in 2000. He has appeared as guest
conductor with Ensemble Intercontemporain (Agora 2012), Tokyo Symphony, Orchestra
Sinfonica Nazionale della RAI, Orchestra Teatro La Fenice, Orchestra del Maggio
Musicale Fiorentino, Teatro Comunale of Bologna, Orchestra Sinfonica Giuseppe
Verdi of Milan, Orchestra della Svizzera Italiana, Orchestre de Chambre de Lausanne,
I Pomeriggi Musicali, Muziekgebouw/Bimhuis in Amsterdam (Gaudeamus Music
Week), Luxembourg Philharmonie and deSingel of Antwerp, the Hermes Ensemble,
Biennale Musica of Venezia, Ars Musica of Brussels, Milano Musica, MI.TO. Festival,
Warsaw Autumn, Filature of Mulhouse, Teatro Lirico of Cagliari, Romaeuropa Festival, Thanks to:
Traiettorie of Parma, Accademia Filarmonica Romana, Teatro Lirico of Spoleto Daniele Spini – Artistic Director of the Haydn Orchestra
(Orpheus Price 2007), Orchestra Sinfonica of Lecce. Fondazione Orchestra Haydn di Bolzano e Trento