Luca Francesconi

Quick Facts

Full Name	Luca Francesconi
Date Of Birth	Mar 17, 1956(1956-03-17)
Age	68
Country	Italy
Birth City	Milan
Horoscope	Pisces

Luca Francesconi Biography

Luca Francesconi is one of the most popular and richest Composer who was born on March 17, 1956 in Milan, Italy. “Curious, that title, “Dentro non ha Tempo”. It can be interpreted in three ways. As the temporal suspension that someone who has died leaves behind in those who love him/her. The Abbado family is a reference the great musical tradition Luciana was born into: an homage to the past that doesn’t have time. The composition’s form is also a reference to Mozart’s Don Giovanni, which was dilated 29-times. As the year Luciana was born, 1929.

Luciano did not talk about the more technical and delicate aspects of his work. I can recall asking him questions when I least expected them. I was hoping to learn some tips. His answers were like puzzles. They were mystical and required divining rituals to be decoded. Berio Francesconi, who was his assistant between 1981 and 1984, studied in the field above all. He was directly involved in the scoring of La vera storia. He collaborated with the composer on the 1984 rewriting Monteverdi’s Orfeo. Berio was also present at Tanglewood, where he attended one his famed summer courses.

In 1984 three of Francesconi’s pieces, including Passacaglia, for large orchestra (1982), were selected for the Gaudeamus International Composers Award in Amsterdam. This first important recognition on the international scene created a useful tie with the Dutch music scene and laid the foundation for further commissions. Meanwhile, in Italy, thanks to a commission from the Teatro Lirico di Cagliari, Francesconi had the opportunity to seriously put into practice for the first time his idea of a “polyphony of languages”: Suite

1984. The polyphony that I have in mind hasn’t got anything to do with the “postmodern” or collage, the exotic pastiche, the provincial chinoiserie of our grandparents (but also of Stockhausen and certain pop groups). Instead, it is a free fusion of ideas in a compact and linguistically very solid body that reveals its profound energies in its inner profundity and not in an exterior heterogeneity. Energies that come from the earth, from popular culture, from ancient African and Oriental cultures. “In 1984 the Teatro Lirico in Cagliari presented a quartet made up of the pianist and composer Franco D’Andrea together with the group Africa Djolé led by the master percussionist Fode Youla from Guinea. The idea was then conceived that the music of this group be recreated in symphonic form (Suite 1984) by the 28 year-old Luca Francesconi for a performance by the theatre’s orchestra under the direction of Francesconi himself, a recent product of rigorous musical studies, assistant to Luciano Berio and ‘jazz student of D’Andrea’, as he used to like to define himself. The concert attracted experts from all over the place anxious to hear novelties and promising syncretisms of various musical civilisations, and it was a triumph.” “Orchestra, African percussionists and jazz quintet: the choice of instrumental make-up itself contained in an explicit manner the generative nucleus of one of the principal aesthetic motors of the music of Luca Francesconi: the tendency to place alongside one another, following the rules of contrast and fusion, sounds and languages of highly diverse origins.”

From 1985 to the present Luca Francesconi has composed eight works of a theatrical stamp, from Scene, on a text by Umberto Fiori, to the chamber opera In Ostaggio, from Lips, Eyes Bang, for actress/singer, twelve instruments and live audio/video, to the video-opera Striaz. Ballata, commissioned by the Théâtre de La Monnaie in Brussels/di Bruxelles and with stage direction by Achim Freyer, was staged in 2002.

Francesconi, who was still at the Berchet Classical Languages High School in Milan, returned to the Conservatory of Milan during 1974. He explored all aspects of music and took an interest in each dimension of sound. Francesconi played in jazz and rock bands, as well as classical concerts. He was also a session musician in recording studios and composed music for television, film, advertising and theatre. They were all very rewarding, even if they weren’t enough. He realized that a true living language is one that looks at the past and draws its lifeblood from its roots. He felt it was time to explore the music tradition to which he belonged. Francesconi signed up for the Azio Corghi composition course at Milan Conservatory, which opened more space for contemporary music. “From him, I learned the trade, the basics and counterpoint, as well as professional seriousness, open-mindedness, and professionalism. He continued to explore electronic music, and in 1977 he took the time to study jazz at Boston’s Berklee College of Music.

Luca Francesconi Net Worth

Luca Francesconi is one of the richest Composer from Italy. According to our analysis, Wikipedia, Forbes & Business Insider, Luca Francesconi 's net worth $5 Million. (Last Update: December 11, 2023)

The world premiere of Luca Francesconi’s Macchine in Echo was performed by the WDR Sinfonieorchester Cologne on October 2. It was conducted under the direction Peter Rundel and the collaboration of the GrauSchumacher piano duo. WDR, Strasbourg MUSICA festival and Wiener Konzerthaus commissioned the piece. The Strasbourg MUSICA festival performed the French premiere at the 33rd festival’s closing concert on 3 October. When two pianos are involved, it is easy to imagine them as two terrifyingly powerful fiendish machines. This piece features two pianos as well as a symphonic orchestra. I love the magic of mirrors and multiplications between two pianos working in unison. It is an endless source of meanings, meanings I must find despite the destruction of reality around me. As a small gesture of resistance to this strong force, I have included a short homage Luciano Berio’s Concerto for Two Pianos. This is one of the pieces that has left a lasting impression on my life.

Luca Francesconi, born 17 March 1956 in Milan, is an Italian composer. He studied at Milan Conservatory and then worked with Luciano Berio and Karlheinz Stockhausen.

Donnerstag aus Licht went on stage at the Teatro alla Scala in Milan in 1981. Stockhausen is a historical reference point: Francesconi admired him for his extraordinary organisational consistency, for his tireless search for a linguistic unity. He was also deeply struck by the visionary quality of this initial opera. He wanted to observe the composer at work so he enrolled in the intensive course that Stockhausen held in Rome that same year. “From him I learnt rigor, at first imbibing it by osmosis, and then demythologising it.”[7]

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Between 1993 and 1994 Francesconi worked and taught in Paris in the hyper- technological workshop Ircam, where “you model sound with your hands”. On commission from Ircam, he carried out computer analysis on sounds and their behaviour right down to their roots, their etymon, to realise “one of the most convincing and at the same time impetuous musical equivalents of the writing of Baudelaire, striving with clarity of mind to achieve a secure control over the insidious relationship between words and music.” The piece is based almost entirely on Baudelaire’s poem Le Voyage, of which at two points we hear the soprano declaim two key fragments: “Dites, qu’avez-vous vu?” (Speak, what have you seen?). The computer analysis of this question constitutes the DNA that structures the entire piece, from the microstructure to the macroform. The result is a multi-levelled organism that in 25 minutes lays out its basic material (phonemes, instrumental particles, electronic transformation) and then proceeds to join it all together in increasingly complex structures. Everything begins with a question on the origin of meaning (in Greek: “etymon”). What is there before the word, and what models language? And finally, what allows us to transcend language? In the beginning there is pre- language, its premises. Etymo, a work furnished with huge white wings, starts out with the primordial mumblings of language, in phonemes. Nothing is intelligible, alliterations that roll off and slip away (or fluctuate) and an orchestra that appears suspended, as if it were waiting. These phonetic and musical particles aggregate in a contrapuntal overlapping which in the end explodes in an ocean of profundity from which the first words arise. An important example of how Francesconi employs electronics in a masterly way to broaden the expressive range and colour of instruments. The physicality of the performance remains at the centre of the work, but the electronics helps it to reach an extreme expressive intensity. A fuoco (1995) is Francesconi’s fourth study on memory; Animus, for trombone and computer (1996), was performed in Paris, while the London Sinfonietta took Plot in fiction to Santa Cecilia in Rome (1996).

Facts & Trivia

Luca Ranked on the list of most popular Composer. Also ranked in the elit list of famous people born in Italy. Luca Francesconi celebrates birthday on March 17 of every year.

2000 marked two other important experiences. The Piccolo Teatro in Milan commissioned him to write the music for Calderón de la Barca’s pièce La vida es sueño, with stage direction by Luca Ronconi, who in that very year took over the direction of the theatre from Giorgio Strehler. He wrote the music for Paolo Rosa’s film Il mnemonista, produced by Studio Azzurro.