Vinicio Capossela first met with the body of literary works by Michelangelo in 2000, when he recorded three Rhymes by Michelangelo for the Renaissance album by French musician Philippe Eidel, which the latter musicalized. On that occasion Capossela sang on to Altra Figura, Fuggite Amanti and Sol E Notte. In 2003 Capossela accepted the invitation to participate in the Tenco Club. That edition of the event pivoted on the "poetry in music" theme and Capossela presented the three Rhymes included in Renaissance. Capossela then performed with cellist Mario Brunello, Vittorio Ghielmi on viola da gamba and Luca Pianca on lute. Since then Vinicio Capossela and Mario Brunello have continued to entertain the idea of finding a repertoire of lamentations which could range from ancient music to Southern Italian litanies. It was the invitation to the 2007 edition of the Florentine Genius which prompted them to develop this project, starting from the Rhymes in particular, where «the lamentation is integral to the longing for beauty», as they explain it. This is why Capossela himself took up the challenge and engaged in composing new pieces of music for eight Rhymes which would be performed in addition to the three that Philipped Eidel had already musicalized: «I tried to musicalize them in a very singable way. I'd say they sound younger than 500 years old and in this respect they're almost the same age as Brunello's instrument, which is only 400», says Capossela. «As to the line-up, we chose the cello to express exhaustion, and the viola da gamba to convey beauty». Along the same line is Brunello's comment: «… a voice like Vinicio’s, which has the tension of the friction of the bow and the flexibility of the curved wood that shakes the strings' nervous system, will be accompanied by ligneous bodies, ancient forms of viols and cellos».

Besides Michelangelo’s Rhymes, Capossela and Brunello will present other material during the concert, among which the previously unreleased track "Noli me tangere" which Capossela was inspired to write by the famous painting ascribed to Pontormo: «Nella fede fidati, sono con te, sono dentro te, ma sono così leggero ora, che non mi si può più toccare...» Bach, Monteverdi and two instrumental lamentations played by Mario Brunello and violist Paolo Pandolfo will be framework to Michelangelo’s passionate Rhymes sung by Capossela’s music...

A concert which sings about «love in particular, and beauty as something that deprives you of yourselves… or like fire… and the non-shelter from beauty, from the beloved face, which seems to enter through the little space of the eyes, and it seems to be full to the brim…». Vinicio Capossela will take to the stage with a special line-up: he will be joined by Mario Brunello on cello as well as one of the world’s most distinguished viola da gamba virtuoso, Paolo Pandolfo. Violists Christoph Urbanetz and Sergio Alvares and Vincenzo Vasi on theremin and sampler will complete the line-up.

The concert Fuggite, amanti, amor – Rymes and Lamentations for Michelangelo premiered in Italy on 14 May 2007 at the Accademia Gallery in Florence, to coincide with the Florentine Genius event with the stage placed right at the feet of the huge Michelangelo’s statue of David.
The concert was followed by two repeat performances - one in Florence on May 15 at St. Stephen's Church in Ponte Vecchio and one in Rome on June 7 at the Santa Cecilia Hall at the Auditorium as a part of the “It’s wonderful” festival. On September 22 the concert landed in Milan for a one-off at the Teatro degli Arcimboldi as a part of the MITO Settembre Musica festival.
Two more dates of the Michelangelo concert are scheduled in the following months: 22 October 2007 at the Teatro Comunale Giuseppe Verdi in Pordenone and 11 February 2008 at the Teatro Regio in Turin.

The ruins in these lines come to us like half-sunken soils, capitals, torsos, busts, stone arches in the ground, just as antiquity emerged half-sunken in the slaughter of crows, so do these lines, that are intelligible only in part… sunken in a great spirit… Among all poetry lines the Rhymes, just because they come from Michelangelo, can resound, have a sort of physicality, even a musical body which otherwise would be useless... Maybe because in stone lies creak and sound, because they come from a rear of cartons smeared with colour, and dust made of colour. There’s something plastic and material in this poem, and that's why you can get bodily matter of out it... it's like eating dust and colour, that's why you can get music for instruments of tension, which must extract sound from wood “pulling it out??? with the bow, in the strength of the cello… and in the graceless and aching grace of the viola. Like wooden boats, these instruments have figureheads to pierce the unknown, the great ocean of our soul… and these lines, carried by these prows, make their way down there, sometimes hard like stones, or tied up harnessed in that big, terrifying Nasso shirt of our passion, which wraps the coils of desire around us and burns us, scorching our skin...

These lines lead us into the incurability of amorous desire... In its terribleness, which by longing for the bond leads to the knowledge of separation… You are never so alone as when you're in love... Our individuality never hurts us so much as in the tension, the longing for the bond... “if the hope you give me is true, if the great desire I am allowed to have is true... shall the wall break between her and the messenger..." breaking this wall... and also "what is this love, which gets to the heart through the eyes...?" by means of beauty, "who shall protect me from you beautiful face"? “my shelters are short and crazy against this pain that I long for and that I wanted…???

This poem is the quick to me, flesh not yet healed by the centuries it was placed in and by the calm of life either. The wound that beauty opens is always and still a flesh wound… desire for beauty and incurability... all of this lies in the line I particularly feel, "those who aim at beauty with great grief, will get unripe and certain throes and pains…???

This poem does not feature any gothic, enigmatic, romantic vision. It has the uncovered hand-to-hand fighting, a man that is lifted up and killed by beauty, a man to whom beauty gave the genius not to portray it but to even create it and whom his nature couldn't save... If I look somewhere else to take refuge from enemy beauty, it grows twice as strong until it brings me to death... Thus the titile "Fuggite amanti amor..", because this work isn't about the whole poetics of the Rhymes - which are so musical to contain information such as madrigal, for the beautiful and cruel woman, stanzas, frottole and other peculiar indications - not the poetics of Michelangelo, but this specific aspect... Desire, beauty, the wound opened by beauty and thus the lamentation... The lamentation is the only palliative, the only consequence of this state. And lamenting doesn’t heal but it actually extinguishes, in a sort of joy of death, like the burning thorn bush… The lamentation extinguishes and maybe in this burning under the fire… “oh strange thing, the pain of the fire is often healed by fire???. There’s also a sort of mysticism, sacrifice, cross… of a completely pagan kind, i.e. in the name of body and beauty, and the divine is possibly this being in the likeness, therefore the divine is inside of us... in the beloved face, in the beloved body… and it produces the ecstasy of the cross…

I don't know. All I know is that this constant talking about beauty, burnt by passion, screaming like a Savonarola at the stake... is a feeling that life starts to give when our soul can understand it, otherwise it's nothing but words made of marble, so they'll burn for each of us according to our state of mind... But the lamentation… This melisma assigned to the route of our soul, to the consumption of our soul… the lamentation is our claiming God, our sweet dying… so with these lamentations we still want to burn that burning thorn bush that can never turn into ashes.

Vinicio Capossela, may 2007

Vinicio Capossela, vocals, piano
Mario Brunello, cello
Paolo Pandolfo, viola da gamba
Christoph Urbanetz, viola da gamba
Sergio Alvares, viola da gamba
Vincenzo Vasi, sampler, theremin
Gak Sato, electronics, theremin
Carlo Rebeschini, orchestrations

Philippe Eidel
Fuggite, amanti, amor, fuggite ‘l foco
Non posso altra figura immaginarmi
Ogni van chiuso, ogni coperto loco

Vinicio Capossela
Veggio co’ bei vostr’occhi un dolce lume
Tu sa’ ch’io so, signor mie, che tu sai
Chi di notte cavalca, el dì conviene
Io credderrei se tu fussi di sasso
Si come nella pena e nell’inchiostro
Come può essere ch’io non sia più mio?
Qui si fa elmi
S’un casto amor, s’una pietà superna
Chi è quel che per forza a te mi mena
Chiunque nasce a morte arriva

Giovanni Sollima
Lamentation
for cello solo

Paolo Pandolfo
Metamorphosis
for viola da gamba

Claudio Monteverdi (1567-1643)
Il lamento della ninfa

Johann Sebastian Bach (1685-1750)
Erbame dich
from St. Matthew Passion

Vinicio Capossela
Noli me tangere
Sol pur col fuoco
Perché, ‘l mezzo di me che dal ciel viene
SS dei Naufragati

27
Fuggite, amanti, Amor, fuggite ‘l foco;
l’incendio è aspro e la piaga è mortale,
c’oltr’a l’impeto primo più non vale
né forza né ragion né mutar loco.
Fuggite, or che l’esemplo non è poco
d’un fiero braccio e d’un acuto strale;
leggete in me, qual sarà ‘l vostro male,
qual sarà l’impio e dispietato gioco.
Fuggite, e non tardate, al primo sguardo:
ch’i’ pensa’ d’ogni tempo avere accordo;
or sento, e voi vedete, com’io ardo.

82
Non posso altra figura immaginarmi
o di nud’ombra o di terrestre spoglia,
col più alto pensier, tal che mie voglia
contra la tuo beltà di quella s’armi.
Ché da te mosso, tanto scender parmi,
c’Amor d’ogni valor mi priva e spoglia,
ond’a pensar di minuir mie doglia,
duplicando, la morte viene a darmi.
Però non val che più sproni mie fuga,
doppiando ‘l corso alla beltà nemica,
ché ‘l men dal più veloce non si scosta.
Amor con le sue man gli occhi m’asciuga,
promettendomi cara ogni fatica;
ché vile esser non può chi tanto costa.

103
Ogni van chiuso, ogni coperto loco,
quantunche ogni materia circumscrive,
serba la notte, quando il giorno vive,
contro al solar suo luminoso gioco.
E s’ella è vinta pur da fiamma o foco,
da lei dal sol son discacciate e prive
con più vil cosa ancor sue specie dive,
tal c’ogni verme assai ne rompe o poco.
Quel che resta scoperto al sol, che ferve
per mille vari semi e mille piante,
il fier bifolco con l’aratro assale;
ma l’ombra sol a piantar l’uomo serve.
Dunche, le notti più ch’e’ dì son sante,
quanto l’uom più d’ogni altro frutto vale.

89
Veggio co’ be’ vostr’occhi un dolce lume
che co’ mie ciechi già veder non posso;
porto co’ vostri piedi un pondo addosso,
che de’ mie zoppi non è già costume.
Volo con le vostr’ale senza piume;
col vostro ingegno al ciel sempre son mosso;
dal vostro arbitrio son pallido e rosso,
freddo al sol, caldo alle più fredde brume.
Nel voler vostro è sol la voglia mia,
i miei pensier nel vostro cor si fanno,
nel vostro fiato son le mie parole.
Come luna da sé sol par ch’io sia,
ché gli occhi nostri in ciel veder non sanno
se non quel tanto che n’accende il sole.

53
Chi di notte cavalca, el dì conviene
c’alcuna volta si riposi e dorma:
così sper’io, che dopo tante pene
ristori ‘l mie signor mie vita e forma.
Non dura ‘l mal dove non dura ‘l bene,
ma spesso l’un nell’altro si trasforma.

54
Io crederrei, se tu fussi di sasso,
amarti con tal fede, ch’i’ potrei
farti meco venir più che di passo;
se fussi morto, parlar ti farei,
se fussi in ciel, ti tirerei a basso
co’ pianti, co’ sospir, co’ prieghi miei.
Sendo vivo e di carne, e qui tra noi,
chi t’ama e serve che de’ creder poi?
I’ non posso altro far che seguitarti,
e della grande impresa non mi pento.
Tu non se’ fatta com’un uom da sarti,
che si muove di fuor, si muove drento;
e se dalla ragion tu non ti parti,
spero c’un dì tu mi fara’ contento:
ché ‘l morso il ben servir togli’ a’ serpenti,
come l’agresto quand’allega i denti.
È non è forza contr’a l’umiltate,
né crudeltà può star contr’a l’amore;
ogni durezza suol vincer pietate,
sì come l’allegrezza fa ‘l dolore;
una nuova nel mondo alta beltate
come la tuo non ha ‘ltrimenti il core;
c’una vagina, ch’è dritta a vedella,
non può dentro tener torte coltella.
E non può esser pur che qualche poco
la mie gran servitù non ti sie cara;
pensa che non si truova in ogni loco
la fede negli amici, che è sì rara;
(…)
Perché non basta a una donna bella
goder le lode d’un amante solo,
ché suo beltà potre’ morir con ella;
dunche, s’i’ t’amo, reverisco e colo,
al merito ‘l poter poco favella;
c’un zoppo non pareggia un lento volo,
né gira ‘l sol per un sol suo mercede,
ma per ogni occhio san c’al mondo vede.
I’ non posso pensar come ‘l cor m’ardi,
passando a quel per gli occhi sempre molli,
che ‘l foco spegnerien non ch’e’ tuo sguardi.
Tutti e’ ripari mie son corti e folli:
se l’acqua il foco accende, ogni altro è tardi
a camparmi dal mal ch’i’ bramo e volli,
salvo il foco medesmo. O cosa strana,
se ‘l mal del foco spesso il foco sana!

010
Qua si fa elmi di calici e spade
e 'l sangue di Cristo si vend'a giumelle,
e croce e spine son lance e rotelle,
e pur da Cristo pazïenzia cade.
Ma non ci arrivi più 'n queste contrade,
ché n'andre' 'l sangue suo 'nsin alle stelle,
poscia c'a Roma gli vendon la pelle,
e ècci d'ogni ben chiuso le strade.
S'i' ebbi ma' voglia a perder tesauro,
per ciò che qua opra da me è partita,
può quel nel manto che Medusa in Mauro;
ma se alto in cielo è povertà gradita,
qual fia di nostro stato il gran restauro,
s'un altro segno ammorza l'altra vita?

59
S’un casto amor, s’una pietà superna,
s’una fortuna infra dua amanti equale,
s’un’aspra sorte all’un dell’altro cale,
s’un spirto, s’un voler duo cor governa;
s’un’anima in duo corpi è fatta etterna,
ambo levando al cielo e con pari ale;
s’amor d’un colpo e d’un dorato strale
le viscer di duo petti arda e discerna;
s’amar l’un l’altro e nessun se medesmo,
d’un gusto e d’un diletto, a tal mercede
c’a un fin voglia l’uno e l’altro porre:
se mille e mille, non sarien centesmo
a tal nodo d’amore, e tanta fede;
e sol l’isdegno il può rompere e sciorre.

60
Tu sa’ ch’i’ so, signor mie, che tu sai
ch’i vengo per goderti più da presso,
e sai ch’i’ so che tu sa’ ch’i’ son desso:
a che più indugio a salutarci omai?
Se vera è la speranza che mi dai,
se vero è ‘l gran desio che m’è concesso,
rompasi il mur fra l’uno e l’altra messo,
ché doppia forza hann’i celati guai.
S’i’ amo sol di te, signor mie caro,
quel che di te più ami, non ti sdegni,
ché l’un dell’altro spirto s’innamora.
Quel che nel tuo bel volto bramo e ‘mparo,
e mal compres’ è dagli umani ingegni,
chi ‘l vuol saper convien che prima mora.

84
Sì come nella penna e nell’inchiostro
è l’alto e ‘l basso e ‘l medïocre stile,
e ne’ marmi l’immagin ricca e vile,
secondo che ‘l sa trar l’ingegno nostro;
così, signor mie car, nel petto vostro,
quante l’orgoglio è forse ogni atto umile;
ma io sol quel c’a me propio è e simile
ne traggo, come fuor nel viso mostro.
Chi semina sospir, lacrime e doglie,
(l’umor dal ciel terreste, schietto e solo,
a vari semi vario si converte),
però pianto e dolor ne miete e coglie;
chi mira alta beltà con sì gran duolo,
ne ritra’ doglie e pene acerbe e certe.

8
Come può esser ch’io non sia più mio?
O Dio, o Dio, o Dio,
chi m’ha tolto a me stesso,
c’a me fusse più presso
o più di me potessi che poss’io?
O Dio, o Dio, o Dio,
come mi passa el core
chi non par che mi tocchi?
Che cosa è questo, Amore,
c’al core entra per gli occhi,
per poco spazio dentro par che cresca?
E s’avvien che trabocchi?

7
Chi è quel che per forza a te mi mena,
oilmè, oilmè, oilmè,
legato e stretto, e son libero e sciolto?
Se tu incateni altrui senza catena,
e senza mane o braccia m’hai raccolto,
chi mi difenderà dal tuo bel volto?

21
Chiunche nasce a morte arriva
nel fuggir del tempo; e ‘l sole
niuna cosa lascia viva.
Manca il dolce e quel che dole
e gl’ingegni e le parole;
e le nostre antiche prole
al sole ombre, al vento un fummo.
Come voi uomini fummo,
lieti e tristi, come siete;
e or sià, come vedete,
terra al sol, di vita priva.
Ogni cosa a morte arriva.
Già fur gli occhi nostri interi
con la luce in ogni speco;
or son voti, orrendi e neri,
e ciò porta il tempo seco.

062
Sol pur col foco il fabbro il ferro stende
al concetto suo caro e bel lavoro,
né senza foco alcuno artista l'oro
al sommo grado suo raffina e rende;
né l'unica fenice sé riprende
se non prim'arsa; ond'io, s'ardendo moro,
spero più chiar resurger tra coloro
che morte accresce e 'l tempo non offende.
Del foco, di ch'i' parlo, ho gran ventura
c'ancor per rinnovarmi abbi in me loco,
sendo già quasi nel numer de' morti.
O ver, s'al cielo ascende per natura,
al suo elemento, e ch'io converso in foco
sie, come fie che seco non mi porti?

168
Perché ‘l mezzo di me che dal ciel viene
a quel con gran desir ritorna e vola,
restando in una sola
di beltà donna, e ghiaccio ardendo in lei,
in duo parte mi tiene
contrarie sì, che l’una all’altra invola
il ben che non diviso aver devrei.
Ma se già ma’ costei
cangia ‘l suo stile, e c’a l’un mezzo manchi
il ciel, quel mentre c’a le’ grato sia,
e’ mie sì sparsi e stanchi
pensier fien tutti in quella donna mia;
e se ‘lor che m’è pia,
l’alma il ciel caccia, almen quel tempo spero
non più mezz’esser, ma suo tutto intero.

Testi estratti da:
MICHELANGELO BUONARROTI, Rime
Biblioteca Universale Rizzoli Classici
A cura di Ettore Barelli

Vinicio Capossela
Voce e Pianoforte
Vincio Capossela was born in Hanover, Germany, in 1965. He has released nine albums, written two radio-stories (A Christmas Carrol by Charles Dickens in 2001 and the original I Cerini di Santo Nicola - Racconto Infiammabile Per Voci, Suoni E Canzoni in 2002) and a novel, Non Si Muore Tutte Le Mattine published in 2004 by Feltrinelli. The novel spawned an actual theatrical play called Voci, Echi E Visioni da Non Si Muore Tutte Le Mattine, and some pages of the book gave birth to a new radio experiment called Radiocapitolazioni, which was broadcast on Radiotre in November 2004. His latest work is the live album Nel niente sotto il sole – Grand Tour, which documents the highly successful tour that followed the release of the Ovunque Proteggi album in 2006.

Mario Brunello
Violoncello
Mario Brunello began his musical studies with Adriano Vendramelli, which he then continued with Antonio Janigro. He progressed in his orchestra career until 1986, when he came to a turning point. He participated in the International Tchaikovsky Competion and became the first Italian musician to win it. Since then Mario Brunello has played his 17th century Maggini (which had belonged to the great Franco Rossi) with the most famous orchestras in the most important venues in the world. He also maintains a strong passion for chamber music. He collaborated and still collaborates with musicians and singer-songwriters (Vinicio Capossela, Uri Caine, Gian Maria Testa, Paolo Fresu), actors (Maddalena Crippa and Marco Paolini) and writers (Alessandro Baricco, Stefano Benni, Erri De Luca). His performances and creations always take audiences and critics by storm. His latest project involves Bach's Suites – of which he is considered to be one of the best performers – with the aid of visual projections and electronica. In 1994 he founded the Orchestra d’Archi Italiana (Italian String Orchestra). Over the last few months he has intensely collaborated with Claudio Abbado and his Lucerne Festival Orchestra and the Mozart Orchestra (he was also conductor and soloist of the latter). Mario Brunello was the youngest musician to be appointed Academician at Santa Cecilia. Since 2002 he has had an exclusive deal with Japanese record label Djv Victor.

Paolo Pandolfo
Viola da gamba
He began his researche in the field of Renaissance and Baroque music around 1979 with violinist Enrico Gatti and harpsichordist Rinaldo Alessandrini. During those years he lived thrilling artistic experiences in various contexts which largely contributed to this education, from his participation in the European Union Youth Orchestra (playing with Claudio Abbado, H.v.Karajan, A. Sophie Mutter) to his jazz experiences in the Testaccio Music Lab with Bruno Tommaso, Tommaso Vittorini, Eugenio Colombo and Mario Raja. He then studied viola da gamba with Jordi Savall at the Schola Cantorum Basiliensis in Switzerland. In 1982 he became a member of Savall’s ensamble Hesperion XX and played with them all over the world until 1990 releasing dozens of records. In 1990, after the success of his first solo recordings, he succeeded Jordi Savall as professor at the Schola Cantorum Basiliensis. Paolo Pandolfo has since then been a prominent figure in European ancient music. He also carries out his research and concert activity which has him playing around the world mainly as soloist but also as conductor of his ensemble Labyrinto. Besides philological experiments he also engages in improvisation, both in Renaissance and Baroque style (like the theme of his lates cd Improvvisando – Il Jazz Del XVI Secolo) and in contemporary music and jazz (his cd of original music Travel Notes). He is constantly invited to play and give masterclasses all over the world, from Japan and the USA to the whole of Europa and Russia. He is positive that ancient music may serve as a powerful vital catalyst for the future of Western classical and contemporary music, thanks to the rediscovery of forgotten music vocabularies that are deeply rooted in our culture, as well as the rediscovery of vital practices like improvisation, which are unfortunately outdated. He has had a record deal with Spanish label Glossa since 1997.

Christoph Urbanetz
Viola da gamba
Christoph Urbanetz started studying viola da gamba with Daniel Valencia in his hometown Vienna. He furthered his studies with Lorenz Duftschmid at the Graz Conservatory in Austria in 1996 and at the Schola Cantorum Basiliensis (Switzerland) with Paolo Pandolfo in 1999, where he graduated in 2004 summa cum laude. Between 2001 and 2003 he took specialization courses with Jordi Savall in Barcelona. He is currently carrying out his studies with Vittorio Ghielmi at the Swiss Italian Conservatory in Lugano. In 2006 he won second prize as well as special prize for best Bach performance at the Bach-Albel international viola da gamba competition in Köthen, Germany. In 2007 he won first prize in the international viola da gamba competition in Seville, Spain. Christoph Urbanetz has played numerous concerts at the most prestigious European festival opera foundations, among which the Musikverein and the Konzerthaus in Vienna, in collaboration with several ensembles (Oman Consort, Ars Antiqua Austria, Armonico Tributo Austria), both as orchestralist and soloist. He also recorded for several record companies like ORF Alte Musik and Pan Records.

Sergio Álvares
Viola da gamba
Born in 1979, Sérgio Álvares started studying classical guitar and cello in his hometown Belo Horizonte in 1987. His interest in ancient music and his frequent participations in ancient music festivals in Brazil led him to study viola da gamba with Eunice Brandão in 1997. He then studied viola da gamba with Paolo Pandolfo at the Schola Cantorum Basiliensis in Switzerland, where he obtained his soloist diploma in 2004. Among his collaborations and recordings are Cantus Cölln (conductor Konrad Junghane), the Gillles Binchois Ensemble (conductor Dominique Vellard), Labyrinto Ensemble (conductor Paolo Pandolfo, L’Amoroso (conductor Guido Balestracci) , Elyma Ensemble (conductor Gabriel Garrido), The Earl Viols (conductor Randall Cook), La Cetra Barockorchester (conductor Attilio Cremonesi), Orlando Ensemble (conductor Laurent Genere), La Chimera (conductor Eduardo Eguez), Concerto Soave - Maria Cristina Kiehr (conductor Jean-Marc Aymes).

Vincenzo Vasi
Theremin / Campionatore
A multi-instrumenatlist, versatile composer with a penchant for the surreal (he plays bass guitar, theremin, marimba, vibraphone, electronics and vocals), he is regarded as one of the most eclectic musicians in heterodox and non-heterodox music. His style crosses different genres, from electronic experimentation to singer-songwriter pop. Engaged in research music with different projects (Trio Magneto, Ella Guru, Gastronauti, Switters, Orchestra Spaziale, Etherguys) and over 25 cd's since 2005, he regularly collaborates with Vinicio Capossela, Ominostanco and Roy Paci. The latter produced his recent album Vince Vasi Qy Lunch (Etnagigante/V2). He played with Chris Cutler, Tony Coe, Butch Morris, Antonello Salis,Pierre Favre, Phil Minton, Paolo Angeli, Gianluca Petrella, Cristina Zavalloni, Otomo Yoshihide, Lol Coxill, Steve Piccolo, Wang inc., Joey Baron, Ikue Mori,Lukas Ligeti, John Zorn.

Gak Sato
Elettronica e Theremin
Born in Tokyo in 1969, Gak Sato is Head of A&R for Temposphere, Right Tempo’s contemporary music label in Milan. Since 2002 he has taught Sound Techniques in Art at the Carrara Academy of Fine Arts in Bergamo. He started collaborating with Vinicio Capossela in 2004 with the reading “Echi, suoni e visioni da Non si muore tutte le mattine”. Their partnership continued with the Time Zones Festival and Capossela’s 2006 album Ovunque Proteggi. Gak Sato released three solo albums (his latest record Informed Consent was out in 2005) and remixed for a long series of artists.

Vinicio Capossela
Photo by Studio Associato NoNamePhoto


Vinicio Capossela
Photo by Studio Associato NoNamePhoto


Vinicio Capossela and Mario Brunello
Photo by Elettra Mallaby


Vinicio Capossela
Photo by Elettra Mallaby