Morphing Landscapes

Rocco Rescigno
Rocco Rescigno, born in 1992 in Udine, Italy, first received instruction in piano and organ at the “Scuola di Musica di Passons” (Gruppo Folkloristico di Passons) in Passons (Udine), later adding trombone and saxophone. From 2008 to 2011 he began his bachelor’s studies in trombone at the Conservatory in Udine with Domenico Lazzaroni, with additional training in alto trombone and euphonium. During this time, he was already accepted into the “Orchestra Nazionale dei Conservatori d’Italia” and the “Central European Initiative Youth Orchestra”.
After his studies in Udine, Rocco Rescigno moved in 2011 to the trombone class of Prof. Stefan Schulz, Andreas Klein, and Rainer Vogt at the Berlin University of the Arts. In 2014 he was awarded scholarships from the Rotary Club of Perg and from the DAAD. He completed his bachelor’s degree in 2015, receiving a distinction from the University of the Arts, before beginning his master’s and Konzertexamen studies.
That same year, he became a scholarship holder of the Karajan Academy of the Berlin Philharmonic, where Prof. Christhard Gössling was his principal mentor. As an academy member, he took part in tours, contributed to chamber music projects of the Berlin Philharmonic, and participated in CD productions. He worked with leading conductors and performed as a guest with the other major Berlin orchestras (Staatsoper, Deutsche Oper, Komische Oper, Deutsches Symphonie-Orchester).
In 2016 Rocco Rescigno joined the Gustav Mahler Youth Orchestra, with which he toured across Europe. Concerts at the London Proms, the Amsterdam Mahler Festival, and the Berlin Young Euro Classic were broadcast live on radio.
When his two-year fellowship with the Berlin Philharmonic came to an end in 2017, Rocco Rescigno was appointed principal trombonist of the Duisburg Philharmonic – Deutsche Oper am Rhein.
Since then, he has collaborated with various orchestras in North Rhine-Westphalia, as well as with the Berlin Philharmonic, the Munich Philharmonic, and the Bavarian Radio Symphony Orchestra.
Since 2020, he has also been teaching as a lecturer at the Folkwang University of the Arts in Essen and Youth Orchestras as the Junge Deutsche Philharmonie, the Landesjugendblasorchester Rheinland-Pfalz, the Junge Bläserphilharmonie NRW and Music System Italy.
As a soloist, Rocco Rescigno is committed to contemporary trombone music. To date, he has performed more than forty world premieres. Within the framework of the Philharmonic Concerts of the City of Duisburg, Rescigno was scheduled to perform Henri Tomasi’s Trombone Concerto in January 2021. As public concerts were impossible at that time due to the COVID-19 pandemic, a video production was recorded, which was praised as “Magnifique” by the Tomasi Society in Marseille. In November 2022, Rescigno was finally able to perform Tomasi’s concerto for the Duisburg audience under the direction of Axel Kober.

Rudy Fantin
He graduated in classical piano under the guidance of Ugo Cividino in Udine and in jazz piano with Harald Neuwirth at the Klagenfurt Conservatory, earning honors and special distinction. He also studied with Renato Chicco and Bruno Cesselli.
He is active as a piano and arranging teacher and, in parallel, as a concert performer, taking part in numerous festivals and performing in theaters both across Europe and internationally. He has contributed to over 70 recording projects and served as Artistic Director of the FVG Gospel Choir from its foundation in March 2003 until its closure on March 3, 2018.
He is the Musical Director of Chicago-based singer Cheryl Porter and of The NuVoices Project.
He has collaborated with many internationally renowned artists, including Stevie Wonder, Cheryl Porter, Noa, Ian Paice, Swingle Singers, Donald Lawrence, Calvin Bridges, Joe Pace, Myron Butler, Stef Burns, Michael Stuckey, Clinton Jordan, Daniel Thomas, Noreeda Graves, Wayne Ellington, Michelle John, Karima, and many others.

Eugène Bozza (b Nice, 4 April 1905; d Valenciennes, 28 Sept 1991). French composer and conductor. He studied with Büsser, Rabaud, Capet and Nadaud at the Paris Conservatoire where he won premiers prix for the violin (1924), conducting (1930) and composition (1934), and also the Prix de Rome with La légende de Roukmāni (1934). From 1938 to 1948 he conducted at the Opéra-Comique in Paris and in 1951 he was appointed director of the Ecole Nationale de Musique, Valenciennes, an appointment he held until his retirement in 1975. He was made a Chevalier of the Légion d’Honneur in 1956. Though his large-scale works have been successfully performed in France, his international reputation rests on his substantial output of chamber music for wind. This displays at a high level the qualities characteristic of mid-20th-century French chamber music: melodic fluency, elegance of structure and a consistently sensitive concern for instrumental capabilities.

Johann Sebastian Bach: (b Eisenach, 21 March 1685, d Leipzig; 28 July 1750). Composer and organist. The most important member of the family, his genius combined outstanding performing musicianship with supreme creative powers in which forceful and original inventiveness, technical mastery and intellectual control are perfectly balanced. While it was in the former capacity, as a keyboard virtuoso, that in his lifetime he acquired an almost legendary fame, it is the latter virtues and accomplishments, as a composer, that by the end of the 18th century earned him a unique historical position. His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements of his own and earlier generations and leading on to new perspectives which later ages have received and understood in a great variety of ways.
The first authentic posthumous account of his life, with a summary catalogue of his works, was put together by his son Carl Philipp Emanuel and his pupil J.F. Agricola soon after his death and certainly before March 1751 (published as Nekrolog, 1754). J.N. Forkel planned a detailed Bach biography in the early 1770s and carefully collected first-hand information on Bach, chiefly from his two eldest sons; the book appeared in 1802, by when the Bach Revival had begun and various projected collected editions of Bach’s works were underway; it continues to serve, together with the 1754 obituary and the other 18th-century documents, as the foundation of Bach biography.