Conservatorio di Alessandria - Concert musician and professor
Bach: performance, interpretation, recordings
Daniele Boccaccio defines himself as a "performer" of Bach music, and as someone who "studies [Bach's] ideas in the field of teaching, of Kabbalah, and of Lutheranism".
1989 Organ and organ composition diploma at the Conservatory “L. Cherubini” in Florence. He participated in many courses on J. S. Bach given by Michael Radulescu, and early music by H. Vogel, M. Torrent-Serra, L.F. Tagliavini, S. Innocenti. Radulescu gave an important turning point in his life, inviting him in 1992 to become part of his organ class at the Universität für Musik in Vienna. He also enrolled and attended the Harpsichord class by Gordon Murray and Basso continuo by Augusta Campagne, getting his soloist diploma in Organ and Harpsichord (with first-class honours degree, and the title of Magister Artium) 1999 first world CD-recording of Sonate di violino a voce sola by Giovanni Antonio Leoni, the first collection entirely dedicated to violin and Thorough-Bass in the history of music. 2000, first world CD-recording of Otto Cantate per Soprano, due Violini e Basso by Domenico Scarlatti (record company: “Tactus”) This recording was awarded at “Recording International Prize Antonio Vivaldi for the Italian Ancient Music 2000” of Venice as one of the best CD-recording of the year. He has an intense activity both as a soloist and continuo player with whom he recorded for Amadeus, Bongiovanni, Tactus, Dynamic, Symphonia, Hyperion, Brilliant Classics and Euterpe Classic Music. 1995 he had a teaching assignment as a harpsichordist in the Early Music Department of Music Pedagogy at the Universität für Musik in Vienna
(Hochschule für Musik - Dresden)
Italian Reception of J. S. Bach (1950-2000): Words, Sounds, and Ideas
She graduted in Musicology at the University of Pavia by defending a MA Thesis about instructive editions of Two-Part Inventions edited and published in Italy between the 19th and 20th century. Then she worked on a doctoral project titled Italian Reception of J. S. Bach (1950-2000): Words, Sounds, and Ideas . By employing methods typical of the cultural studies on reception, her research is developed into three branches: firstly, it studies the relationship between the role played by Bach's works in the teaching process and in the publication market; secondly, it analyzes the thematic, critical and historiographical trends within the scholarly and non-scholarly publications; thirdly, it discusses the presence, function and choice of Bach's works within the concert scene of Milan and Rome, as well as their relationship with the recording market. Finally, particular attention is devoted to the contexts and to the reception processes of Bach's Lutheran music within a traditionally Catholic country such as Italy. In 2019 she co-founded, together with Chiara Bertoglio, JSBach.it
Maria Borghesi has a Conservatory diploma in Piano and a postgraduate degree in Musicology (University of Pavia, Cremona). She is a PhD candidate at the Hochschule für Musik of Dresden, where she develops a research project on the reception of J. S. Bach in Italy under the guidance of her supervisor Michael Heinemann.
In 2018 she received a research fellowship at the Deutsch Historisches Institut in Rome; then, she had a contract for the ERC project "Performart" at the École Française in Rome. She cooperates with the Società Italiana di Musicologia. In July 2018 she was in charge of the secretarial staff at the 18th Biennial International Conference on Baroque Music, in Cremona. In September 2019 she was member of the organising and scientific committee for the International Conference "Bach at the Dawn of 2020" in Dresden. From January 2020 she is researcher at the Hochschule für Musik in Dresden, where she collaborates to the ESF/Horizon 2020 project "Der Klang der Staatskapelle Dresden"
mborghesi [a] jsbach.it
Bach: complete works for the Cello (and beyond)
Mario Brunello has frequently performed Bach's complete works for the Cello and the greatest part of the violin repertoire on the Violoncello Piccolo, including the Solo Concertos.
Mario Brunello is a captivating musician who plays with an expressive freedom rarely found today. The Italian cellist — equally at home as soloist, chamber musician, and project innovator — has been praised by Gramophone for his “great spirit” and described as “intense and passionate” by The Strad.
Brunello made his breakthrough in 1986 as the first and only Italian to win the coveted International Tchaikovsky Competition in Moscow. Since then, Brunello’s heartfelt playing has earned him appearances with such leading conductors as Antonio Pappano, Valery Gergiev, Riccardo Chailly, Ton Koopman, Riccardo Muti, Myung-Whun Chung and Seiji Ozawa, and concerto performances with many of the world’s foremost ensembles, including the London Symphony, the Philadelphia Orchestra, the NHK Symphony Tokyo, the Kioi Sinfonietta, the Filarmonica della Scala and the Accademia Nazionale di Santa Cecilia. As a chamber musician, Brunello has forged fruitful partnerships with Gidon Kremer, Yuri Bashmet, Martha Argerich, Andrea Lucchesini, Frank Peter Zimmermann, Isabelle Faust, Maurizio Pollini and the Borodin Quartet. As the founder and artistic director of Arte Sella and I Suoni delle Dolomiti festivals, Brunello has also brought music of the highest calibre to the Dolomite peaks.
Among Brunello’s engagements for the season 2019-20 are concerts in Warsaw with the Warsaw Philharmonic Orchestra, in Moscow with the Tchaikovsky Symphony Orchestra and in Yerevan as a guest of the Contemporary Classics Festival. His ongoing collaboration with Kremerata Baltica continues with appearances at the Kronberg Festival — together with Gidon Kremer — and with a tour of South America in the double role of soloist and conductor. Brunello also continues to serve as artist-in-residence of the Philharmonie Zuidnederland.
Brunello plays a precious Maggini cello crafted in the early 1600s. He has, however, grown increasingly fond in recent years of a second instrument: the “cello piccolo”. The cello piccolo — as its name implies, a smaller version of the cello — shares the tuning of a violin, as well as something of the latter’s nimble handling, while retaining much of the resonance and depth of the former. Brunello has exploited the full potential of this instrument in revelatory performances of the baroque violin repertoire, focusing on the masterpieces of Bach, Vivaldi and Tartini.
This season coincides with the 250th anniversary of Giuseppe Tartini, which Brunello will celebrate with an extended homage to the composer, whose works he will perform and record alone as well as in collaboration with the Accademia dell’Annunciata and the violinist Giuliano Carmigniola.
His soon-to-be-released recording of the Bach’s Sonatas and Partitas for solo violin, performed on the cello piccolo, represents both the fulfilment of Brunello’s artistic dream and an extraordinary opportunity for the listening public to experience these familiar works in a manner both deeply expressive and refreshingly novel.
Brunello’s richly diverse discography includes recordings of the works of Bach, Beethoven, Brahms, Schubert, Vivaldi, Haydn, Chopin, Janaček, and Sollima. His five-CD set on the EGEA label, the “Brunello Series”, features his performances of Tavener’s “The Protecting Veil” with the Kremerata Baltica and his award-winning traversal of Bach’s Cello Suites. Also worthy of note are his Deustche Grammophon release of Beethoven’s Triple Concerto under the baton of Claudio Abbado; his Dvořák’s Cello Concerto, conducted by Antonio Pappano (EMI); and his stunning live performance video of Shostakovich’s Cello Concerto No. 2, conducted by Valery Gergiev in the Salle Pleyel in Paris.