- Started in
- Musician type
- Violinist / Violist
- Host institution
- Antwerp University
Marco Fusi is a violinist/violist, and a passionate advocate for the music of our time. Among many collaborations with emerging and established composers, he has premiered works by Billone, Sciarrino, Eötvös, Cendo and Ferneyhough.
Marco has performed with Pierre Boulez, Lorin Maazel, Alan Gilbert, Beat Furrer, David Robertson, and frequently plays with leading contemporary ensembles including Klangforum Wien, MusikFabrik, Meitar Ensemble, Mivos Quartet, Ensemble Linea, Interface (Frankfurt), Phoenix (Basel) and Handwerk (Köln). Marco records for Kairos (Pierluigi Billone - ITI. KE. MI / Equilibrio. Cerchio), Stradivarius (Salvatore Sciarrino works for violin and for viola; John Cage, Freeman Etudes; Scelsi Collection Vol. 7), Col Legno, Geiger Grammofon.
Marco also plays viola d'amore, commissioning new pieces and collaborating with composers to promote and expand existing repertoire for the instrument. A strong advocate and educator of contemporary music, he lectures and workshops at Columbia University, University of California - Berkeley, Basel Musikhochschule, New York University, Boston University, Royal Danish Academy of Music - Copenhagen, Cité de la Musique et de la Danse - Strasbourg, University of Chicago. Under the artistic and musical direction of Pierre Boulez, Marco was a member of Lucerne Festival Academy from 2007 to 2012.
Marco teaches Contemporary Chamber Music at the Milano conservatory “G. Verdi”.
Searching for an emancipated performance practice for Giacinto Scelsi's music within the complexities of his creative routine
Direct contact with Giacinto Scelsi has been the only acknowledged approach to the interpretation of his music, hence forming a circle of elite-performers, recipients of an understanding “beyond the written score”. However, in order to preserve the accuracy and faithfulness of performance, it is essential today to investigate the complex creative process of Scelsi, looking for interpretative suggestions residing within his artefacts. The subject of analysis will be Scelsi's opus for strings. I will focus on the materials of Scelsi's original improvisations (recorded tapes and specific musical instruments used), the role and artistic liberties of the transcribers over the written score and the process of instrumental assignment of a keyboard generated performance. The pars construens aims to find understanding behind Scelsi's improvised musical language, their formulations and functions, proposing effective technical adaptations on string instruments. My goal will be to present a coherent way to perform the works of Scelsi, eliminating the problematics of oral transmission while remaining faithful to his language and sounds.
May 22-23, 2019
This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.