Antonio was born
in Naples in
1961. In 1985 he was awarded ‘Summa cum Laude’ at the D. Cimarosa Conservatory
in Avellino, Italy. From 1983 to 1990 he
attended Master Classes by Eliot Fisk in Florence,
at the Vienna Conservatory and at the Salzburg Mozarteum. He gave his first
concert in 1980 and apart from playing all over Europe, since 2000 he has been
regularly holding tours in the USA.
He has won first prize in several guitar competitions including Pesaro (2nd National Contest, 1981), Bardolino
(4th International Contest, 1981) and Genoa (4th National Contest ‘P.
Taraffo’, 1984). He was the first guitarist in the world to have performed the
entire ‘24 Caprices’ by N. Paganini
in one single concert (Avellino, Italy, 1992).
Mr. De Innocentis
has premiered and published several works composed especially for him.
Important composers who have dedicated their works to him include John W. Duarte, John Bent, Pasquale Bifulco. John Oster from the USA, Jonatas
Batista-Neto from Brazil, Luigi Arbolino, Marcello Parisi and Giovanni Zaccari from Italy, Peter Stewart from Scotland and Neil Smith
from England. In addition to performing actively, he
gives Master Classes in Italy
(Caserta, Acerra, Florence
and Giugliano), England (Frensham Heights),
Scotland (Oatridge Festival,
Aberdeen and Glasgow),
Norway (Bergen), USA (California, Maine)
and teaches regularly at the “A. Ruggiero” School in Caserta, Italy.
He has also been juryman in International Guitar Contests. His performances are
broadcasted by several TVs and Radio Stations in the USA
and Europe.
He recorded six
CDs for Fiammant Records: “Guitar Recital” (1997); “Premiere!” (2004); “Live at Kellie Castle” (2005), “Return to Glenmore” (2005), “The 24 Caprices op. 1 by N. Paganini”
(2010), and “Vive la
France!” (2011), in
collaboration with GiZa Records. This recording, carried out together with
Italian composer and guitarist Giovanni Zaccari, features transcriptions for
two guitars of French music from late 19th and early 20th
century.
Besides, he has published some of his
transcriptions and revisions in Italy
and the USA (California, Florida).
His arrangements of Scottish traditional music have been published in March
2008 by Lathkill Publications, England,
and reviewed on Classical Guitar Magazine in the October of the same year. In
September 1998 and October 2000 Classical Guitar Magazine’s music supplement
was dedicated to his transcriptions and, in March 2003, he was also interviewed
by the prestigious magazine.
In October 1999
he took part in John Duarte’s 80th
birthday concert in London
and, in 2005 in the first memorial concert to celebrate him after his death. In
June 2009, invited by Christopher Duarte, he performed in Norwich
two guitar concertos – “A Tudor Fancy” by J. Duarte and “Fantasia para un
Gentilhombre” by J. Rodrigo – with the Academy of St. Thomas
Orchestra conducted by Roger Coull, to celebrate
the 90th anniversary of John Duarte’s birth.
Among the most
important events of his career: the
composition of the Twelve Studies op. 140 by
Maestro John Duarte; the participation in the Oatridge International
Guitar Festival (Scotland, 2001, 2002, 2003); the Guitar
Foundation of America International Convention 2001 (La Jolla, California. USA) where, after his concert, the American
luthier John Dick presented him with his best guitar, just exposed at the
Convention’s Vendor Fair; the International Guitar Festival of Great Britain,
Wirral (Liverpool, 2001); the Scottish Premiere of Claude Bolling’s Picnic
Suite (2003); the invitation to
play in Wales with the NYGE Orchestra under the conduction
of Gerald Garcia and the concert for the EGTA Annual Conference at Cambridge
(2004); the invitation, as Artist in Residence at the L.A.H.S., Turner (Maine, USA, 2004); the foundation of the “John Duarte Guitar Quintet”, the name
approved by Mrs Dorothy Duarte (December 2004). In Summer 2005, has been
invited, as the only guitarist, to give four concerts at the “Arcady Summer Festival”, in
Maine, U.S.A.. In the Spring of 2007 in Norway, he closed the “Gitarekspressen Festival
2007”, with a concert and a master class given in Bergen
at the local “Grieg Academy” and in July 2007 he was awarded for his
international career in Castel Morrone (Italy). In 2007 he also gave his
debut at the Edinburgh Festival Fringe (August) and
at the 9th Gliwice
International Guitar Festival, Poland (November).
Apart from
founding and playing in the “John Duarte Guitar
Quintet”, he has also regularly performed with the
prestigious Edith Ferguson’s Ensemble in Glasgow,
at Kellie Castle for the National Trust for
Scotland,
and at Pittenweem Arts Festival. Lately, he is also giving recitals in duo for voice and guitar with
his daughter Fiammetta (soprano).
In the Summer
2009 he also wrote the original soundtrack for the theatrical play “Giuseppina
– Una donna del Sud” by Italian actor
Pierluigi Tortora, premiered, together with Tortora, in September 2009 at Casertavecchia
International Art Festival “Settembre al Borgo” and still having repeat performances
in Italy.
Antonio De
Innocentis will be soon preparing some more recordings with Fiammant Records: a
collection of harpsichord baroque music by Scarlatti, Cimarosa and Paradisi;
the world premiere recording of various works written for him and a recital for
voice and guitar together with his daughter Fiammetta, featuring, among other
things, several Gershwin’s hits.
♫
“Antonio De
Innocentis is in all respects a remarkable artist, one who must be included in
the upper echelon of today’s guitarists…” John Duarte
“He
is a truly great virtuoso of the guitar… I find his interpretations stimulating
and original…far more so than those of any better known players…and his level
of virtuosity is really astounding.” Eliot
Fisk
“Antonio De Innocentis
is a player whose dark-toned virtuosity ranks him highly amongst the new breed
of players establishing identities around the world. His strong technique and
unpretentious musicianship were perfect tools to deal with the Prelude,
Canto and Toccata op. 38 by John Duarte…De Innocentis executed extremely
difficult triplet passages with impressive strength and was the picture of
professional composure.”
Tim Panting, Classical Guitar Magazine,
UK
“…A
true musician, a player able to join refined and virtuosic technique, serious
and reflexive work and a real artist’ sensibility…a great professional, a
masterly expert of styles and of the instrument’s possibilities; a guitarist
who, no doubt, will be master and model for future generations.”
Avelina Vidal Seara,
Royal Higher Conservatory of Madrid
“…This guitarist is world class,
of that there can be no doubt…”
Chris Dell, Classical Guitar Magazine,
UK
“…In my experience only David Russell plays
Scarlatti with the same combination of technical assurance, musical and
stylistic correctness, and true harpsichord-like playing. De Innocentis’s
two-strings trills are blazing and crystal-clear. His control of staccato and
the stopping of the notes at their exactly correct points is the mark of a
finely honed technique and a very meticulous musical mind… Not since I heard
Julian Bream at UCLA for the very first time in 1969 have I been SO overwhelmed
by a new player…This player must become better known – and fast!…”
John Bent, New Millennium Guitar Magazine,
USA
“…A finger-crunching virtuoso…, De Innocentis injected flair and
dynamism into the usually sedate business of Scarlatti on the guitar.”
Paul Fowles, Classical Guitar Magazine,
UK
“…His performance at Kellie Castle surpassed
all expectations… Antonio gave a fascinating interpretation of Bach’s
Chaconne…The capacity audience at Kellie Castle was ecstatic in its applause
for this virtuoso performance…”
Ursula Ditchburn, “St Andrews Citizen”, Scotland
“…De Innocentis opened with three Sonatas by Domenico Scarlatti that
did not seem possible for mere mortals to play on the guitar… This Neapolitan’s
playing… was fast, loud, and exciting, replete with breathtaking position
changes and stretches. His speed and power were remarkable…”
Joseph Mayes, GFA Soundboard,
USA
“Antonio De Innocentis is a guitar player of
formidable technique…”
Mark Switzer, GFA Soundboard, USA
“...The technical skill, the creation of different shades and moods of
tonality put into Paganini's 'Three Caprices' was remarkable... P. Stewart's
'Povero Pietro' composed for Antonio and J.S.Bach's Sarabande showed the
artist's great feeling for musical structure. Whether playing Scarlatti or
Scott Joplin, Antonio manages to enter the very essence of a composition and
interprets each piece with great enthusiasm and musicianship. It was a
privilege to have one of the great guitarists of our time in Pittenweem.”.
Ursula Ditchburn, “St Andrews Citizen”, Scotland
“…Antonio is a unique musician who balances phenomenal techniques with
an acute and sensitive musicality to produce music appealing to all listeners.”
Peter Stock, “Inverurie Herald”, Scotland
“A stunning concert from Antonio: …he rendered a near perfect
interpretation of Bach’s Suite BWV 1012. The listener experienced the
remarkable complexity of sound, structure, harmony and counterpoint. The result
was stunning. Equally fascinating was Antonio’s insight into traditional
Scottish Airs. His arrangements for guitar reflected the very essence of
Scottish songs… The concert ended with Duarte’s
‘Americana’ and
Paganini’s ‘3 Caprices’, both compositions played with the technical skill and
virtuosity rarely found in guitar playing these days.”
Ursula Ditchburn, “St Andrews Citizen” and “Dundee Courier”, Scotland
“Antonio gave an
incredible performance of a very elaborate program… his playing was brilliant,
with gigantic stretches and rapid harmonies… At the end of the concert I was
convinced that I witnessed one of the world’s greatest guitarists in action… He
dazzled the audience by his colourful playing, rhythm, perfect intonation,
speed, and splendid interpretive ability… I recommend anyone who has the
opportunity to hear Antonio performing live not to think twice about it, go and
hear this fantastic artist, it will be a life changing experience.”
Pasquale Bifulco, Leavitt Area
High School, Turner, Maine,
USA
“… The Paganini, of
course, was thrilling. The powerful and sustained production of notes at the
fingerboard in Caprice # 5 literally caused jaws to drop. It’s not over the top
to say that Antonio’s playing hits one with the force of revelation. It is as
though the guitar had yet been reserving some untapped potential in anticipation
of the master who could unlock it. Antonio’s musicianship is enchanting,
utterly wonderous. The sword has been pulled from the stone.”
Bill Heckman, Dover-Foxcroft Chamber Music
Society, Milo, Maine, USA
"Antonio is unbelievable, a unique artist
who combines incredible passion, unrivalled technique, deep musicality and a
powerful native intelligence. The result is performances that are not
merely definitive, but revelatory."
John Jenab, President of the Kansas
City Guitar Society,
Missouri, USA
“There is always
high quality music at the conference and on this occasion a recital was given
by the Italian Antonio De Innocentis, who had come from performing with the
EGTA sponsored National Youth Guitar Ensemble (NYGE) in Wales. De Innocentis
has enormous powers of technical control and amazing fluency: he was the first
guitarist to give a complete performance in one concert of all 24 of the Paganini Caprices, before Fisk’s
endeavour. It was probably in the concluding Paganini set that De Innocentis
reached the closest marriage of artistry and astonishment, and there were
notable contributions also from Scarlatti and Tedesco.”
Stephen Kenyon, Classical Guitar Magazine,
UK
“Played well, solo classical
guitar has the depth and complexity of a small orchestra, as was demonstrated
in this free concert by Italian virtuoso, Antonio De Innocentis.
His command of the repertoire,
from the Renaissance up until the present, was dazzling; the contrast of styles
and techniques included the impressive perpetual motion of Domenico Scarlatti's
'Allegro Sonatas', and the technical - and emotional - surprises of twentieth
century masters, including Agustin Barrios Mangoré and Jorge Morel.
Then, to underline the guitar's
versatility, his encore was in the style of the Scottish traditional harp.
De Innocentis performed this
challenging programme with an infectious love of his instrument, and whetted
the audience's appetite for the artists following him in this varied series of
concerts.”
Louise Rodgers, Edinburgh Festival, Scotland
“In order to ‘translate’ these traditional melodies onto the guitar, De
Innocentis has used a variety of guitar techniques to represent the varying
moods of each piece, hence we hav almost the whole range of ‘special effects’
the guitar can produce in its imitation
of drums, clarsach, pipes, vocal lines etc. He has also added his own, often
virtuosic, always tasteful, variations to some of these melodies… De Innocentis
is a guitarist and arranger not only of consummate skill but he is also an
interpreter of great understanding for the music he his performing. This is
altogether a first class new release and one which I wholeheartedly recommend.
Steve Marsh,
Classical Guitar Magazine, UK
“Antonio De
Innocentis, a great supporter of John Duarte’s music, offered an assured and
expressive interpretation. He is a scrupulous player who produces a wealth of
warm sonorities but at the same time articulates every fine detail of dynamics,
phrasing and colour.
Graham Wade,
Classical Guitar Magazine, UK
“…Tortora is accompanied on the classical guitar by Antonio De
Innocentis, a musician with an amazing interpretation of the text. His guitar
creates a background sometimes light, sometimes more intensely lyrical, but
never overdoing the harmonic embellishments or the tempos, and with the music
composed on purpose by him for the play, it seems almost to go back through
some moments of the soundtrack from “Il Postino” (The Postman)…”
Salvatore Viggiano, Caserta Musica &
Arte, Italy
“…Parallel thirds, octaves, and
even tenths, pizzicato, and blazing scale passages: this one (Paganini’s
Caprice n. 24) has it all, and Signore de Innocentis simply plays it all to
perfection…
Antonio de Innocentis is a guitarist with
power, depth, a musical perceptiveness that few guitarists possess, and a
fanatic's love of purpose.”
John Bent, New Millennium Guitar Magazine,
USA
