- PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
- Tel: (+351) 234 370 389 (ext. 23700)
BiographyAntonio Fruscella was born in Campobasso (Italy) where he successfully obtained the classical guitar Diploma in 1999.
He subsequently perfected at the “Conservatoire National de Règion” of Aubervilliers – La Courneuve in Paris, attending classes by Alberto Ponce, receiving in 2002 the guitar and chamber music diploma with full marks.
He attended in the same conservatory the two years post-diploma specialization course 2001/2003. He also attended several masterclasses by famous teachers such as: D. Russell, L. Zea, G. Listes, O. Ghiglia.He won many prizes in Italian national competitions (Barletta, Mottola, Recanati, Caramanico, Ortona, Pesacara, Savona) and international competitions (First prize at Paris Duo Guitar Contest; Fourth prize at Montélimar Duo Guitar Concours; Second prize at the “Ecole Normale de Musique de Paris A. Cortot” in “J. Rodrigo” Competition).
He attended the High Specialization Course at Villecroze Accademy (France) and at the International Masterclass in Mendrisio (Switzerland) both given by Alberto Ponce. In 2001 he received the “Subinates” prize as best student at the XIII International Course in Mendrisio (Switzerland).In 2002 he received a scholarship from the “Ecole Normale de Musique de Paris A. Cortot” and in 2003 he obtained the Superior Musical Performance Diploma. He has recorded for “Alfa Musica” the inedited Sonata of Antonio Ruiz Pipó. In 2001 he founds the “Debs Fruscella Duo” with the pianist Rania Debs. They record 2 CD: “Momenti Samai” and “Opus Mixtum” and they take a part in many festivals and concert series around Europe, Middle East and Mexico.He plays as soloist or in other ensemble in many festivals and concert series in Italy, Croatia, Switzerland, France, Germany, Poland, Macedonia, Kosovo, Spain, Russia, United Kingdom, Belgium, Lebanon, Portugal, Mexico, Taiwan, Austria, Netherlands, Thailand.Among the projects that better emphasize his eclectic background there are the Duo CHORG with Simona Fruscella guitar and pipe organ; flute and guitar duo with flutist Jacques Simony.He is invited as teacher in many courses and masterclasses of guitar in Italy and abroad: Conservatory of Music in Cesena (Italy), Conservatory “A. Segovia” of Linares (Spain), Conservatory of Music in Morelia (Mexico), “Classical Guitar Retreat” in Cumbrae (Scotland), “Guitar Stage” in Seckau (Austria).His concerts were recorded and broadcasted by MRT1 (Macedonia), RTK1 (Kosovo) and TV7 Murcia (Spain).He is a guitar teacher at the Conservatory of Music and Dance “Les Deux Muses” in Melun, situated on Paris Department (France).Antonio Fruscella uses Optima Strings.
Ciência Vitae | ORCIDDoctoral ProjectTitleCândido Lima: contribution to the contemporary guitar repertoireAdvisorAbstractThe present work aims to discuss the guitar production of the Portuguese composer Cândido Lima (1939 - ). His guitar opus is constituted of 28 solo pieces and 53 chamber music pieces according to the Portuguese Music Research & Information Centre catalogue and the composer himself. Despite this considerable dimension, Lima’s guitar work is not usually introduced into the classical guitar repertoire. We consider that this is due to the lack of a specialized and revised edition added to the intrinsic difficulty of these guitar pieces from an idiomatic standpoint which constitutes a significant barrier for the overall knowledge of this repertoire also in terms of availability and visibility.Therefore, this research suggests a creation proposal upon the guitar repertoire by Cândido Lima: A new version, thought-out in a collaborative relation with the author, for adapting it to the instrument pattern then to revaluate the importance of his unknown guitar repertoire.The arrangement methods supplied solve eventual playability problems about specific repertoire, in order to balance the thoughtful composing technique implied by a non-guitarist composer with the instrumental practicability. Authors like Lima (2003), Martingo (2011), Marinho and Carvalho (2012), contribute to frame the whole work from a theoretical standpoint, moreover works supplied by others researchers like Peruzzolo-Vieira (2017), Ivanovic (2014), Ostersjo (2008) and Rodrigues (2011) will be used added to the collaborative relation with Cândido Lima from a technical stance. This process aims to arrange Lima’s guitar repertoire with technical solutions and esthetical result without changes of the primary musical intention evoked by the composer in the scores.Research Group: Creation, Performance and Artistic Research