Fabio Massimo Capogrosso

Fabio Massimo Capogrosso

EVERYBODY HAS A STORY

The Umbrian composer Fabio Massimo Capogrosso (Perugia 1984) was the first composer in residence in
the history of the Toscanini Philharmonic.
He won the Bassoon Chamber Music Composition Competition in the United States of America in 2015
with the piece 4 Miniature per 4 Strumenti a Fiato.
In March 2016 he was invited to Tampa as the winner of the Call for score of the New Music Festival
organized by the University of South Florida.
He has been a guest at important national and international institutions and festivals such as the National
Academy of Santa Cecilia, the Teatro Alla Scala in Milan, the concerts of the IUC, I suoni delle Dolomiti,
the concerts of the Scuola Normale Superiore of Pisa, the concerts of Amici della Musica in Verona, San
Francisco International Piano Festival, Rebecca Penneys Piano Festival, Villa Pennisi in Musica, Pietre che
Cantano, the International Midsummer Festival; and in theaters such as the Grande di Brescia, the Parco
della Musica in Rome, the Cilea in Reggio, the Palladium in Rome, the Britton Recital Hall of the University
of Michigan, the Barness Music Recital Hall of the University of South Florida.
He has worked with artists such as Carlo Boccadoro, Pamela Villoresi, Marius Bizau, Gianfranco Rosi.
His compositions have been performed in Italy, Spain, Germany, Poland, Belgium, Florida, California,
Michigan, South Korea, China by well-known ensembles, including: Sentieri Selvaggi, Sestetto Stradivari of
the National Academy of Santa Cecilia, Fabrizio Meloni and the Percussionists of La Scala, Quartetto
Falstaff, Red4Quartet of the National Academy of Santa Cecilia, President's Trio of the University of
South Florida, Strings & Hammers, Trio Solotarev; and by musicians such as Sesto Quatrini, Francesco
Libetta, Ives Abel, Francesco Cilluffo, Orazio Sciortino, Anastasia Feruleva, Alessandro Soccorsi, Mara
Oosterbaan, Edevaldo Mulla, Mina Mijovic, Eunmi Ko, Nina Kim, Conor Nelson, Emily Diez, Kevin
Schempf and Susan Nelson McNamee.
He is among the winners of the ninth edition of Discover America, the prestigious competition organized
by the Chicago Ensemble, and of the first prize at the Keuris Composers Contest 2018.
He was chosen by M ° Marco Bellocchio, winner of Golden Palm for Lifetime Achievement to compose the
soundtrack of Fuori Notte, with Fabrizio Gifuni, Tony Servillo, Margherita Buy, Fausto Russo Alesi.
He is the protagonist of Oltre la Maschera, a documentary by Andrea Campajola produced by Edizioni Curci
and CIDIM-Italian National Music Committee.



WHAT PEOPLE SAY ABOUT ME

"Kidnapped makes the strongest impression in pure craft terms -Fabio Massimo Capogrosso's score is impeccable"

variety


for me it was important to listen to Fabio's music rirst, because that eay it was as though

I chose to want to produce the emotions I was living at the moment.

My old teacher used to tell me that when you entered a concert hall by the time the concert was over, your body temperature had to change. If your body temperature stays the same during the concert,, and if you're not somebody different by the end of the concert, there's been a failure on the part of those playing but also maybe on your part if you couldn't find a resonance whit what was being played.

Well, whit Fabio's music, bothas a player and a listener, there's no doubt my body temperature changes!


david romano - second violin section leader presso accademia nazionale di santa cecilia

Bartsch and Rizzer were joined by Snow for a more enthralling international offering, this time out of Italy: Fabio Massimo Capogrosso’s Un breve racconto notturno (2013). The ghostly atmosphere of the beginning of the work is rendered by wisp-like strings and a piano subtly muted in its lowest octave. The work grows more urgent in its second half, interpolated by a lyric theme. Capogrosso’s voice is clear-eyed and commanding, and the Chicago Ensemble rose to the occasion. Bartsch and Snow blended beautifully in their unison passages; navigating shimmering passages and jackhammer-like chords, Ritter locked in better to his string-playing compatriots than he had in the previous works.

chicago classical review

He gives you the whole thing, but, at the same time, it’s extremely fluid. This is something unique!

I belive he has something thet’s not very easy to define, and define it doesn’t matter anyway, and inside his music there’s something that overcomes the fact there are techniques that avent-garde complex. He’s a composer who manages to write music that’s very articulated, very considered, and very immediate, all at the same time


carlo boccadoro - composer, conductor