• Mirto, Giorgio : Frida for Clarinet, 2 Violins, Viola and Violoncello (2011)

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Giorgio Mirto

Frida for Clarinet, 2 Violins, Viola and Violoncello (2011)

  • Publisher: Ut Orpheus
  • Code: XXS 86
  •   In Stock
  • € 32.95

Author: Giorgio Mirto (*1972)

Publication Date: 5/27/2013

Edition: Score and Parts

Pages: pp. 44 + parts pp. 60

Size: 230x310 mm

Binding: Saddle stitching

ISMN: 979-0-2153-2082-6

Code: XXS 86

Guitarist and composer Giorgio Mirto graduated from the Conservatory of Mantua, and later earned a Master Degree with honours from the Conservatory of Cuneo.
He has performed in numerous concerts throughout Europe, Russia, China, Japan, Argentina, United States, Africa as a soloist or in collaboration with Victor Villadangos.
He has made recordings for Gendai Guitar, Moisycos Music Edition, Edizioni Musicali Sinfonica, GuitArt and Brilliant Classics.
As a composer he was awarded in several international competitions. His music is played in prestigious festivals and theatres in Europe, Argentina, Russia, the United States and has received acclaim from artists such as Altenberg Trio, Victor Villadangos, Maximo Diego Pujol, Eric Franceries, Ganesh Del Vescovo , Vivaldi Guitar Trio, Faurè String Trio, Massimo Delle Cese, Attilio Piovano, Viktor Kozlov, Giulio Tampalini, Stefano Palamidessi, Dylan Fowler, Rhapsody Trio, Broz Trio, Kazuhito Yamashita, Vittorio Ghielmi, Umberto Benedetti Michelangeli.
In 2009 he was selected by the Biennale of Young Artists from Europe and the Mediterranean and, for the occasion, he was commissioned to create an opera (”Le Sette Porte”) premièred in Skopjie (Macedonia) and, subsequently, at the MITO Settembre Musica in a concert devoted entirely to his chamber music.
For the theatre, he created the music for the show “Exit” by Fausto Paravidino.
He is the artistic director of the International Guitar Festival “Six Ways” in Turin.
He teaches at the Conservatory “Piccinni” of Bari.
The Clarinet (06-2014)
... a fresh sounding, rhythmically vital work marked by equal interest in all five instruments, counterpoint and dramatic use of harmony ... This compositional naiveté is equaled by spontaneous, “with–it,” not too stuffy compositional freshness — Frida is directly appealing.