Aureliano Cattaneo
Aureliano Cattaneo was born in Codogno (Lodi-Italy) in 1974, studied piano in the Conservatory of Music of Piacenza, and in 1997 he got his piano diploma with Vincenzo Balzani.
He studied composition with Carlo Alessandro Landini, Pippo Molino and Sonia Bo at the Conservatory of Music "Verdi" in Milan. He attended master classes of composition with Gerard Grisey, Toshio Hosokawa, Cristóbal Halffter and Mauricio Sotelo.
Winner of prizes of composition: (1999 - First prize of Competition ‘Progetto Giovani Compositori’ in Milan; 2000 - Finalist of the 17th International Composition Prize ‘Alea III’ of the Boston University; 2000 - First prize of ‘Campo de Composición’ of Injuve in Madrid; 2001 - First Prize of the IV International Composition Competition ‘Valcarcel’ of the Fundación Botín in Santander). In 2000 he was selected for the VII International Young Composer's Meeting in Apeldoorn (Holland) and the Premier Forum International des Jeunes Compositeurs in Paris. In Autumn 2000 he was composer in residence at Casa de Velazquez, Madrid, thanks to a "bourse de sejour" from the French Ministry of Culture and in Autumn 2001 he was selected for the 14th International Composition Seminar of Boswil (Switzerland). He has collaborated with the Italian poet Edoardo Sanguineti on the occasion of the international meeting of poetry "La poesia ante el Tercer Milenio", organised by Universidad Complutense of Madrid. His works were performed in Italy and abroad by ensembles such as Klangforum Wien, Ex-Novo, Alea III, Orchestra Cantelli, De Ereprijs, Aleph, Grupo Onix, Solistas de la JONDE, Ensemble Ricochet, directed by Ed Spanjaard. Claudio Ambrosini, Theodore Antoniou, Francisco Lara. His work "Klangregie" for solo piano was premiered in the 50th Festival Internacional de Santander by Italian pianist Bruno Canino and broadcasted by RNE (Radio Nacional de España). Klangforum Wien premiered his "concertino" for trombone and amplified ensemble under the direction of Ed Spanijard in November 2001 in the Festival Europäischen Musikmonats in Basel. He has received commissions by the "Centro Para la Difusión de la Música Contemporanea" (CDMC) of Madrid and by the Province of Lodi (Italy). The French Ministry of Culture gave him a commission (commande d'etat) to write a new piece for violin, cello and accordion for the Trio Aller-Retour.
His works are published by ‘Editions Musicales Européennes’ (EME), Paris. He is one of the promoters of the Festival ContemporaneaMente in the city of Lodi, Italy. He lives and works in Madrid.
He studied composition with Carlo Alessandro Landini, Pippo Molino and Sonia Bo at the Conservatory of Music "Verdi" in Milan. He attended master classes of composition with Gerard Grisey, Toshio Hosokawa, Cristóbal Halffter and Mauricio Sotelo.
Winner of prizes of composition: (1999 - First prize of Competition ‘Progetto Giovani Compositori’ in Milan; 2000 - Finalist of the 17th International Composition Prize ‘Alea III’ of the Boston University; 2000 - First prize of ‘Campo de Composición’ of Injuve in Madrid; 2001 - First Prize of the IV International Composition Competition ‘Valcarcel’ of the Fundación Botín in Santander). In 2000 he was selected for the VII International Young Composer's Meeting in Apeldoorn (Holland) and the Premier Forum International des Jeunes Compositeurs in Paris. In Autumn 2000 he was composer in residence at Casa de Velazquez, Madrid, thanks to a "bourse de sejour" from the French Ministry of Culture and in Autumn 2001 he was selected for the 14th International Composition Seminar of Boswil (Switzerland). He has collaborated with the Italian poet Edoardo Sanguineti on the occasion of the international meeting of poetry "La poesia ante el Tercer Milenio", organised by Universidad Complutense of Madrid. His works were performed in Italy and abroad by ensembles such as Klangforum Wien, Ex-Novo, Alea III, Orchestra Cantelli, De Ereprijs, Aleph, Grupo Onix, Solistas de la JONDE, Ensemble Ricochet, directed by Ed Spanjaard. Claudio Ambrosini, Theodore Antoniou, Francisco Lara. His work "Klangregie" for solo piano was premiered in the 50th Festival Internacional de Santander by Italian pianist Bruno Canino and broadcasted by RNE (Radio Nacional de España). Klangforum Wien premiered his "concertino" for trombone and amplified ensemble under the direction of Ed Spanijard in November 2001 in the Festival Europäischen Musikmonats in Basel. He has received commissions by the "Centro Para la Difusión de la Música Contemporanea" (CDMC) of Madrid and by the Province of Lodi (Italy). The French Ministry of Culture gave him a commission (commande d'etat) to write a new piece for violin, cello and accordion for the Trio Aller-Retour.
His works are published by ‘Editions Musicales Européennes’ (EME), Paris. He is one of the promoters of the Festival ContemporaneaMente in the city of Lodi, Italy. He lives and works in Madrid.
Giano, repainted
Janus: “I’m like the two-faced Janus, the only god who can see his own arsehole....” These were the words that I heard on the radio many years ago, I no longer remember who said them. I internalised them. Not so long later my aunt died – she also a god who could see their arsehole. Now I can remember this two-faced god, the god of thresholds, of passages; a double-god who can look both into the future and back to the past. Duality, as found in mirrors, shadows and echoes, tortures me.
Janus: “I’m like the two-faced Janus, the only god who can see his own arsehole....” These were the words that I heard on the radio many years ago, I no longer remember who said them. I internalised them. Not so long later my aunt died – she also a god who could see their arsehole. Now I can remember this two-faced god, the god of thresholds, of passages; a double-god who can look both into the future and back to the past. Duality, as found in mirrors, shadows and echoes, tortures me.
Repainted: when we take a picture, copy it; paint it again – once, twice, ten, many times - with each reproduction something is lost and details disappear. Only a carcass is left over. It is an adverse change; we do not add, rather remove. Or we can also always add on something else and so then find flesh on the carcass. There are two identical quintets: two flutes, two clarinets, two violins and two pianos.
The two pianos are placed near to each other and the other instruments like two wings. (Aureliano Cattaneo)