Donemus Webshop — Bozzola, Gianni

Education:
- Studied composition and orchestration with Giulio
Castagnoli, Brian Ferneyhough, Francesco Filidei, Clemens
Gadenstätter, Mark Andre, Pierluigi Billone, Georges
Aperghis and Yann Robin;
- Studied jazz guitar with Karsten Lipp and Giuseppe
Panzella;
- Graduated at Lizard Academy of modern music of Vercelli in jazz guitar and Computer Music;
- Studied violin at Turin Conservatory with Claudio Cavalli;
- Graduated with honors in Philosophy at University of Turin; with seminaries on Music History and “Philosophy of New Music” of Th. W. Adorno.

Teaching experience:
- Teacher of “Music History” and “Score Analysis” at Lizard Academy of modern music of Vercelli.

Master-classes and courses:
- Inaudita: Francesco Filidei and Yann Robin (Barga 2014);
- 47th Internationale Ferienkurse für Neue Musik of
Darmstadt (2014);
- 9th International Ensemble and Composers Academy for
Contemporary Music – Impuls Academy (2015).

Commissions:
- Opera Barga (Pisa 2014)
Title: Pungi-Ophis-Zyclos for Contempoartensemble

Performances:
- Festival Opera Barga (Pisa 2014)
- 47th Internationale Ferienkurse für Neue Musik
(Darmstadt 2014)
- Impuls Festival (Graz 2015)
- LondonEar Festival (London 2015)

Prizes and awards:
- 2014 Inaudita International Competition with masterclass
of Filidei and Robin, with commission for
Contempoartensemble premiered at Festival Opera
Barga (2014);
- 2014 Finalist at “Arturo Dùo Vital 3rd International
Chamber Music Composition Prize” (2014) with the
work entitled “Genesis sui generis”;
- 2013 “Manuel Valcàrcel 10th International Piano
Composition Prize” (2013) with the work entitled
“Ombre nel cielo II”;
- 2012 Artistic mention at “10° Concorso nazionale di
composizione pianistica 2012 indetto
dall’associazione De Musica” with the work entitled
“Marto”.

Publications:
- Published by De Musica in “Antologia pianistica” with the
work “Achab’s Dog”;
- “Pungi-Ophis-Zyclos” for Verlag Neue Musik.

Biography:
Primarily self-taught as a composer, I started my
compositional experience at thirteen, writing for violin, guitar, piano and small ensembles. Along with classical music, I soon developed a passion for jazz and rock music, which became new sources of inspiration. My first influences may be thus seen in Beethoven, Bach and Mozart, as well as in The Beatles, Jimi Hendrix, Frank Zappa, Miles Davis and Pat Metheny.
Moving away from classical music, during my twenties I’ve
been the author and guitar player in the jazz-rock band called The Exit Project, as well as in other jazz, fusion and progressiverock projects. After these experiences in my late twenties I “returned” to contemporary music, taking my jazz music experiences with me. Along with a passion for Strawinsky, Mussorgsky and Debussy, I began studying the music of Webern, Varèse, Messiaen and Ravel, then moving
particularly towards Boulez, Ligeti, Xenakis, Maderna, Berio, Ferneyhough, Kagel and Stockhausen. Serialism and postserialism provided an important basis on thinking structures and proliferation upon single ideas, but also Varèse mass movements and Boulez spatialization on music (such in works as Répons) were fundamental stimuli for my musical growth. This basis was a new starting point on my compositional thinking towards a music that was neither serial nor chromatic, and yet neither tonal nor modal. Form, harmony, rhythm, timbre and technique began to open the field of research and of questioning about what music can be in our days. Other very important influences came from different kinds of music, such as Brazilian bossa nova, Argentinian tango, Spanish flamenco and Balinese gamelan among others, while African and Indian music have been very inspiring as two different ways of conceiving rhythm. On the other hand, oriental tradition was also a very important starting point on the search and experimentation of timbre possibilities. Extra-musical sources as philosophy, literature, painting and architecture were also a fruitful influence for musical ideas.
After this somehow atypical path, in the very last years I
began to participate at international prizes as well as masterclasses (Master-class Inaudita, with Filidei and Robin 2014; the 47th International Summer Course for New Music in Darmstadt 2014), gaining my first awards (finalist at 3rd
Arturo Dùo Vidal International Chamber Music Competition, Santander, Spain 2014; artistic mention at “10° Concorso nazionale di composizione pianistica 2012 indetto dall’associazione De Musica”, Italy 2012), publishings (Antologia pianistica De Musica, 2013) and commissions (Festival Opera Barga 2014).

List of selected works:

Piano works:
- 3 marzo (2007)
- Marto (2008)
- Gratia (2010)
- Genesis sui generis (2010)
- Minimanalism (2011)
- Dislocatum (2011)
- Continuatuum (2011)
- Septo (2011)
- Achab’s Dog (2012)
- Ombre nel cielo (2012-2013): in 7 movements

Quartets:
- Spaces Quartet (2006): for string quartet

Solo works:
- Pungi-Ophis-Zyclos (2014): for clarinet
- Ouroboros (2014): for contrabass clarinet

Ensemble/Orchestral works:
- The K. Pail (2007-2008): for large ensemble and electronics
- Delphus Ribicus Chersicus (2009): for orchestra
- Prélude à l’Après-midi d’un Ribico (2009): for ensemble
- Gorgo Zwi (2009-2010): (in 3 movements) for small ensemble, rock group and electronics
- Random α (2010-2011): (in 2 movements) for large ensemble and
electronics
- Random β (2011-2012): (in 3 movements) for large ensemble divided in 5 groups and electronics
- Genesis sui generis (2013-2014): for ensemble
- Caxambu (2014): for soprano saxophone and accordion
- Koto.Lengō (2015): for oboe and bass koto
- Cherem de Spinoza (2015): for solo harpsichord and ensemble

Jazz-Rock albums:
- Hamelin (1999)
- Vanishing Point (2005)
- Fides (2010)
- Lulu (2013)
Experimental works:
- The Dark Side of Mr Rio (2009-2011)