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Ballio, Emanuela

Emanuela Ballio

Prize winner composer of the Composition competition “The contemporary guitar 2018″
for her work for guitar “B – E improvisations sur “le marteau sans maitre” 

Emanuela Ballio (Milan-Italy). At the age of 22 she graduated in composition with top marks from “G.Verdi” Conservatory in Milan under the guidance of U.Rotondi. She studied electronic music and film music and was awarded an advanced degree in composition with F.Donatoni at the “Accademia Nazionale di Santa Cecilia” in Rome.

She teaches Composition at the Conservatory “Luca Marenzio” of Brescia. Emanuela Ballio’s approach to composing is characterised by an intellectual curiosity and versatility that has led her to write not only for orchestra, choir and solo instruments, but also for unusual chamber groups, such as accordion quartet, recorder ensemble, mandolins orchestra and military band.

She has obtained many honours both in national and international competitions, like “INTERNATIONAL COMPETITION VIOTTI – VALSESIA” (Vercelli 1986), “NATIONAL COMPETITION K.CZERNY” (Torre Pellice 1989),“3° INTERNATIONAL COMPETITION FANNY MENDELSSOHN” (Unna, Germany 1991), “GUIDO D’AREZZO” (Arezzo 1991), “GRAND PRIX DE COMPOSITION DE VILLE D’AVRAY” (Paris 1992), “NATIONAL COMPETITION AGIMUS” (Varenna 1993), “NATIONAL COMPETITION A.BACCHELLI” (Livorno 1993), “GEDOK: 10° INTERNATIONAL COMPOSERS COMPETITION FOR SYMPHONY ORCHESTRA” (Mannheim 1994), “INTERNATIONAL COMPETITION JEWISH CONCEPTS OF ECOLOGY” (Los Angeles 1994), “INTERNATIONAL COMPETITION CONTEMPORANEA NEOPOIESIS” (Palermo 1994), “NATIONAL COMPETITION CITTA’ DI SCICLI” (Ragusa 1994), “INTERNATIONAL COMPETITION FOR COMPOSERS OF CHAMBER MUSIC” (Winterthur 1996), “PREMIO VALENTINO BUCCHI” (Rome 1997 and 1999), “INTERNATIONAL COMPETITION PAOLO BARSACCHI” (Viareggio 1997), “NATIONAL COMPETITION PREMIO MANDANICI” (Barcellona P.G. 1997), “IBLA GRAND PRIZE 2000” (New York 2000), “MANUEL VALCARCEL” (Santander 2001), “PROGETTO GIOVANI COMPOSITORI” (Milan 2001), “INTERNATIONAL COMPETITION POESIE IN MUSICA” (Cesenatico 2001), “SEPTIMA EDICION DE LOS PREMIOS A LA COMPOSICION Y EXPRESION CORAL” (Canary Islands 2001), “3rd BIBF COMPOSITION COMPETITION” (Great Britain 2003), “3rd INTERNATIONAL COMPOSITION COMPETITION FOR ORGAN OF BARBERIA” (Cesena 2007), “LONGFELLOW CHORUS INTERNATIONAL COMPOSERS’ COMPETITION” (Portland, Maine, USA, 2007), “3rd LE NOTE RITROVATE Composition Competition” (Avellino 2011), “INTERNATIONAL MUSIC PRIZE tm for Excellence in Composition” (Colorado 2011), “AN ART ARTISTRY: THE CONTEMPORARY GUITAR 2018” (Athens 2018).

Her compositions have been played in concerts and festival all over the world, in important cities like BOSTON, LOS ANGELES, NEW YORK, HARTFORD, BUENOS AIRES, ROSARIO, KIEV, ODESSA, TALLIN, MELBOURNE,TOKYO , MADRID, SANTANDER, LAS PALMAS DE GRAN CANARIA, CORFU’, MALTA, BASEL, PARIS, LONDON, YORK, LEICESTER, MUNICH, HEIDELBERG, KARLSRUHE, BUCHAREST, TIMISOARA, CLUJ-NAPOCA, BELGRADE, MILANO, ROMA, VENEZIA, TRIESTE, PADOVA, BRESCIA, BERGAMO, COMO, NOVARA, ALESSANDRIA, BOLOGNA, LIVORNO, SIENA, PERUGIA, BARI, FORLI’, TERAMO, NAPOLI, AVELLINO.

Her works are published by Curci, Edipan, Sconfinarte, Casa Musicale Eco, Wicky, Berben, Fonè, Taukay, MAP, Gavino de Franchy Editores, Centro Musica Contemporanea , Aldebarans Editions, Edizioni per Caso sulla Piazzetta, Edizioni Progetti Sonori, MC Harmony, Aliamusica Records, QTR Productons, Acadia Recording.

emanuela.ballio@gmail.com

“B – E improvisations sur “le marteau sans maitre”for classical guitar

The piece was commissioned to me in 2017 by “Festival 5 Giornate” of Milan, on the occasion of the concert “Hommage a Pierre Boulez”. As the title suggests, the work has been thought as a brief improvisation, totally written (without any choise left to the performer), based on some short musical gestures freely drawn by the guitar part of “Le marteau sans maitre”.

The letters B-E at the beginning of the title don’t want to be an act of presumption or narcissism (they are the initial letters of my name and surname!). They indicate the notes (B flat – E) from which the gestures take form and the piece develops, sounds chosen because in the name “Pierre Boulez” only the letters B – E, read according the notation system of the German-speaking countries, have musical meaning.

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