I knew Maestro Dario Garegnani in May 2008, during rehearsals and the performance of my piece of the late Mrs Troussova Posts by Divertimento Ensemble and soprano Adrienne Csengery. During rehearsals already, I had the opportunity to assess the technical and artistic qualities of Garegnani Dario, who led the score with precision and hard intensity, making the effort to understand my musical intentions to communicate with performers. This has improved the performance for the two concerts that have occurred. In my opinion, Dario Garegnani is able to cope with all the tasks in the field of conducting and I sincerely recommend to the organizers, orchestras, ensembles and institutions so that they can enjoy their work accurate and sensitive, and his human qualities and artistic.
György Kurtag 25.11.2008
I hereby certify to know personally the Master DARIO Garegnani. On occasion of preparation and of the direction of my work MARE NOSTRUM Garegnani has done an excellent job. I can not say enough about its accuracy and expressly his musicianship in the performance of the score. Mr. Garegnani therefore shows the best qualities for additional labor in conducting.
Mauricio Kagel Cologne, May 9, 2008
Dario Garegnani had collaborated with me as a conductor in the performance of two of my recent compositions :
- Mise en abîme For a crowd of 100-200 persons, 32 accordions 2 bass accordions, 2 bass tuba, bass clarinet, soprano, percussions, didgeridoo and 4 conductors. (premiered during a three-day recording session at the national broadcast network of Italy, RAI, between 28/2 – 2/3/2011); & GARON for 2 tuba consorts (20 elements each), 5 contrabass tuba soloists, 2 percussions sections (3 each), choir, live electronics & 3 conductors. (Premiere : 26/01/2012, Closing concert of Dirty corner by Anish Kapoor, La Fabbrica del Vapore, Milan,Italy).
These two works, had put the conductors to an extremely complex challenge not only due to their large formations ( Mise en abîme – 28 separated parts, and 147 participants, duration 100 minutes; GARON – 36 separated parts and 61 participants, duration 50 minutes) but also due to a very unusual point of departure in the sonic esthetics and behavior of instrumentalists, which was much closer in a way to extra-european and archaic traditions rather to contemporary western music.
During our work together Dario had amazed me over and over again in his passion to understand new concepts, to take upon him the new challenges , always in a kind and very professional manner, his extremely vast musical knowledge and general culture that allowed him to reach without effort to concepts beyond the traditional contemporary repertoire , always with patience and great respect to the composer’s work.
For many years I met very skilled musicians working in the contemporary scene that in the moment music went a step outside their “natural habitat” they were completely lost.
I truly believe that with the globalization and the interconnectivity between cultures, new music will present more and more with the need of understanding new unexpected results of cultural synthesis and complex integration between distant concepts of sound, time and timber.
Above all I believe that the tools to affront these issues are not found only inside the music study but are result of of theoretical and intellectual a capacity of understanding connecting principals and hidden between the diverse cultural approaches, both on the structural and semantic levels. I think that Dario has exactly this quality, and represent to me not only not a skilled conductor for present and past repertoire but also to future repertoire.
Yuval Avital, 10.01.2012