Francesco Dillon

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Francesco Dillon, cellist

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LISTEN TO FRANCESCO DILLON ON LIMENMUSIC:
Quartetto Prometeo play L. v. Beethoven String Quartet “Serioso” op. 95

DISCOGRAPHY:
L. van Beethoven – F. Schubert

BIOGRAPHY:

Francesco Dillon completed his studies with A. Nannoni in Firenze.
Other very influential teachers were D. Geringas, M. Brunello and A. Baldovino and for the composition S. Sciarrino. Beside his intense solo activity (recent successful debut in Munich Biennale with ORF Wien, and Orchestra nazionale della RAI, Orchestra Sinfonica Siciliana,Orchestra Haydn among the others) he’s very active as cellist of the Quartetto Prometeo (which tours regularly all over the world).His deep interest in contemporary music led him to collaborate closely with the most important composers of today such as G. Bryars, P.Glass,V.Globokar, S.Gubaidulina, J.Harvey, T.Hosokawa, G.Kancheli, A.Knaifel, B.Lang, D.Lang, A.Part, H.Pousseur, S.Reich, F.Romitelli, K.Saariaho, S.Sciarrino, J.Zorn. As a member of the internationally acclaimed group AlterEgo and as a soloist ,he is invited to play in all the major contemporary music festivals. He regularly plays chamber music with partners such as I. Arditti, G. Carmignola, P. Farulli, V. Hagen, A. Lonquich, E. Pace, R. Schmidt,
S. Scodanibbio. He won several competitions and with the quartet prizes at Prague spring (1st prize 1998), ARD Munich, Bordeaux. His performances are broadcasted by BBC,ARD,Radio France,ORF,ABC,RAI, a.o. He recorded for the labels Aulos,Dynamic,Kairos,Ricordi,Stradivarius,Die Schachtel and Touch. His most recent releases are the first world recordings of Variazioni for cello and orchestra by Sciarrino ,rewarded with the prestigious “Diapason d’or” , the recently discovered Ballata by Scelsi with RAI Orchestra and an album of Schumann rarities for Brilliant Classics.
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REVIEW:

“They played Scelsi and Sciarrino with minimal, slowly developing materials and a beautiful control of sound and silence”

Elusive Music – Boston
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“Despite a row of multiple music stands partially blocking him from view, Cellist Francesco Dillon held every bit of attention with his playing. He brought absolute involvement and reverence to the demanding instrumental techniques and strange sonic stances called for in Harvey’s scores. A surprising, weird whistling came out of his amplified instrument in Curve with Plateaux. Like Curve, Advaya had moments where Dillon tangentially emoted; some of these moments were mysteriously reminiscent of expression found in traditional folk music from the Middle East, perhaps”

David Patterson – The Boston musical intelligencer
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“Dillon è un ottimo esempio di quella nuova figura di musicista “colto” che, per fortuna, si sta largamente diffondendo anche fra le nuove generazioni italiane: cioè un musicista dal solido backgroud accademico e classico, ma dotato di un’apertura e di una curiosità musicale ad ampissimo raggio; non solo attivamente impegnato nella scena contemporanea internazionale e in stretti rapporti con gli interpreti e compositori di quella scena, ma anche direttamente coinvolto negli sviluppi più interessanti, innovativi o sperimentali delle musiche extra-colte attuali…un concerto di alto livello e di grande spessore espressivo”

Fabio Strada – All about jazz
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“a partire dalle bellissime, poco eseguite, “Variazioni per violoncello e orchestra”, scritte nel 1974 da uno Sciarrino ventisettenne, e costruite come un gioco di ondate, di pulsazioni, di aggregati sonori che assomigliano a un vociare di insetti, di microorganismi, impreziositi dalle innumerevoli nuances timbriche del violoncello di Francesco Dillon”

Il giornale della musica
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“Nelle Variazioni il violoncello solista (splendido Francesco Dillon) attraversa lo spazio sonoro a folate, a lampi, ad apparizioni, a scomparse”

Mario Gamba – Il Manifesto

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