Orchestra, composer, double bass player, and pianist, as necessary, as he loved to define himself, Ezio Bosso was born in Turin on September 13, 1971, in a workers' family.
Since his early beginnings, he has shown that craving to overcome the national borders that have characterized his long career. He made his debut at 16 in France as a soloist in Lyon; he completed the studies of double bass, composition, and conductor at the Vienna Academy and collaborated with various European orchestras.
Eclectism, versatility, and generosity are the distinctive features of his artistic path. The list of collaborations with prestigious musical institutions and concert seasons where he performed as a composer, executor, conductor, or member of chamber formations is rich.
In 2005 an accident in his left hand pushed him to focus mainly on direction and composition. In the same year, he founded with elements of the Turin Quartet, the former Borciani quartet, and young European musicians, the Buxusconsort.
Also, in 2005 during the engraving of his quartet for Sassofoni and the soundtrack of the film "Quo Vadis Baby?" In New York, he met Philip Glass, who invited him to his studies to collaborate with world-renowned producers and technicians.
In the following years, his curiosity towards the different forms of musical and artistic expression, as well as its well -known obsession with the understanding of the ways of expression of the human being, led him to collaborate with the most varied musicians and artists. Social commitment becomes a constant of its production and, over the years, collaborates and dedicates compositions to associations.
In 2009 he was commissioned by the Festival Sononi delle Dolomiti his second symphony entitled "Under the Tree's Voices," dedicated to the resonance fir trees of the Val di Fiemme. After his first performance at the Festival Sononi delle Dolomiti in July 2010, the community dedicated a tree to him inside the forest, which sounds like an honor given to prominent musicians on the world scene.
In 2010 for the closure of the symphonic season of the Teatro Regio di Torino, he directed the world first of his first "oceans" symphony: an enormous success with a fully sold-out, standing ovation and fifteen minutes of applause. In 2010 he also directed the Italian first play of "Icarus on the edge of time," an event by Philip Glass and Bryan Green at the Carlo Felice Theater in Genoa, at the head of the 900 Philharmonic Orchestra, of which he is "Consultant for Projects special "and to which it is linked by particular affection and estimate.
In March 2011, he was appointed chief and artistic director of the English orchestra The London Strings. In the same year, he suffered an intervention to remove a brain neoplasm and was also affected by a neuropathic autoimmune syndrome. The pathologies initially did not prevent him from continuing to play, compose and direct. Subsequently, the worsening of the neurodegenerative disease, which occurred that same year and at the beginning erroneously indicated by the media as SLA, forced him, in September 2019, to cease the pianist's activity, having compromised the use of the hands.
2016 is the year that has consecrated Bosso among the most active artists in Italy and of the most successful. His first plan as a plan only, "The 12th room," is awarded a gold disc with over 50,000 copies sold. The relative tournee counts Over 100,000 spectators: unanimous applause of criticism and a consistently warm enthusiasm even in the face of "cultured" programs, designed specifically to involve the viewer in a cognitive and emotional path through some of the maximum expressions of music.
In October 2016, after six years of absence from the podium, Ezio Bosso returned to one of the cornerstones of his musical vision: the conductor, with a sensational and highly anticipated debut at the La Fenice Theater in Venice as director, with the 'demanding program paginated with Bach's third Brandburg concert, Mendelssohn's "Italian" Symphony and the virtuosic and fascinating "exocconcosed" violin concert, composed of Bosso and with the participation Sergej Krylov solo playrov.
The last years of his career see him tread the podiums of many of the most important orchestras in Europe. On January 20, 2019, he directed the Mozart14 Association event "Thanks, Claudio!"
He turned off only 48 years old in his home in Bologna on May 14, 2020, due to the aggravation of the disease. The funeral took place in a strictly private ceremony at the behest of family members. After a year, his body was cremated, and his ashes were buried in Turin's monumental cemetery.
The oceans symphony, from which the concert for cello and orchestra Oceani originated from five movements, each dedicated to one of the oceans of the globe. Already in the symphony, the role of the concerting cello, also entrusted to his friend Relja Lukic, stood out. Hence in it, there was in the nuce the future development in the form of a concert that restores the body and breathing to a work written by Bosso at 40 years old, amid his London and wandering life, so much so that it soon became a very praised ballet of the Sydney Dance Company, We Unfold. Dedicated to migrants or rather to the ontological condition of migrants inherent in every man, even in the most permanent person, the text Bosso wrote years ago to present his work. Today demonstrates stringent current affairs. It reveals the solid ties between the director of Today's orchestra and the composer of 2010 in the contents, artistic relations, and the obliged relationship with music as an existential need before even the profession is honored.
It is therefore worth reading the memories of Ezio Bosso, in an illuminating jump in the past revised for the occasion by the artist:
«Speaking of oceans ...
The first image was the ocean. Or rather, a man sitting in front of a growing ocean. The waves that break violently on the rocks, the foam. The relationship between man and the sea. I had just finished a cycle of songs dedicated to the man and the sea entitled Sea-Songs 1-8, and evidently, the ocean had to close a period of my life as a composer. At that time, I suffered more than synaesthesia when every image or color became a sound (and vice versa), which in turn became an obsession that did not abandon me until the "incident" on the pentagram. That image and pain, which dealt with so much space, prompted me to deepen the scientific aspect as always and therefore to make me become an oceanographer for a while but to investigate the entire metaphor principle that derives from the meaning of the word, starting from the etymology itself. And that's how my "journey" as a music writer started. My trance, as I call it.
Many oceanographers classify five oceans that govern the earth: Atlantic, peaceful, Indian, Arctic, and Antarctic. Each movement of the symphony is dedicated to one of them, but at the same time, that first image imposed the path I had to follow. This is also why there is the atypical presence of a concerting cello with an orchestra of significant proportions. The man and the ocean ... the ocean is also a pretext, a metaphor. It is the journey par excellence, the transition from one human state to another, the ups and downs of travel and life, the hopes, and the comparison between man and events. So here that man, who observes the ocean, decides to throw himself, as I throw myself, into the notes, in the scores, in the history of music writers to "pierce the waves," as the British say.
And start a new path.
And Today, ten years after writing this song, I realize he was a prelude to another ocean to cross, the immensity of a score to be faced part from that need, precisely, to puncture the waves. This is a mixture of acceptance of life, music, and its nuances, from beauty to strength, and the need to live immersed in every moment and savor it. To look for a new place and new oceans to look for and cross. That continuous mutation is life, so similar to migrating—a musician, then, a migrant by nature. We migrate from children to young people, young people to adults, and adults to the elderly. We migrate from love relations and jobs.
All are looking for a better landing and life than a sound that belongs to us. Because finally, you realize that we are the ocean.
But these are opinions, are the things behind the Music writer, to his needs as a man. He will listen to "only" music tonight. Music, among other things, has an extraordinary power: it can make stories live without telling them. It reminded me of Čajkovsky. We music writers can suggest and give clues through titles. Or talk to you about the colors we see. But you will, if you want, live the story, to see yours, of colors, and thus making your journey.
The musicians of this evening, my music brothers, gave me the great honor of playing it with me eight years from the first in Italy and ten from its birth. And among them is an outstanding soloist like Relja Lukic. It is a complex score to govern, where each member is fundamental as in a vessel that must cross an ocean, and it is all his own, with pitfalls and beauties. Here, tonight they will be your crew. You can trust them; they are the best crew and courageous and long-term captains.
See you at the landing».
Ezio Bosso
