September 27, 1932 in Rome – January 19, 2019 in Siena
composer, pianist, musical constructivist.
1951-61 classical and musical studies (composition with G. Petrassi and
piano with R. Caporali) in Rome; electronic music in Utrecht (G.M. Koenig).
From 1956 he performs widely as concert pianist in Europe, as a soloist
with orchestra (with Bruno Maderna, Daniele Paris, Mario Rossi, Paul Hupperts,
Roelof Krol and others) and in recitals. 1962 price Nicola d'Atri (S.
Cecilia National Academy) for SEI PEZZI PER ORCHESTRA. 1964-68 first
experiments with prepared instruments (QUODLIBET,
CIFRE, TUNE, SCRATCH-A-MATIC).
1965 price of the Fondation europeènne de la Culture for
QUODLIBET. 1965-73 member of the improvisation group »Nuova
Consonanza« in Rome. 1967-73 Professor at the State Conservatory
G. Rossini in Pesaro, Italy. Music Theater; theoretic and practical work
on a functional interaction of sound and gestures (SPAZIO-TEMPO, ›Note
per un teatro della realtà‹). 1968 EPITAFFIO:
correspondence between the action of drawing and writing a text and its
sonorous result. 1970 première (Venice, Biennale d'Arte) of SPAZIO-TEMPO.
Construction of his first sound objects on the priciple of the Aeolian
harp. 1970-72 president of contemporary music society Nuova Consonanza,
Rome. 1974 invited to Berlin as »artist in residence« of the
DAAD art program; realization of the first ambitious project of open air
kinetic sound-sculptures (VELE,
Berliner Festwochen). 1975-76 associate professorship at the McGill University,
Montréal: realisation of an experimental composition course called
›Musical Design Course‹ (founder of the MUD group, later known
as SONDE). From 1980 (to 1997) professorship at the Hochschule der Künste,
Berlin. 1986 co-founded the theater group VIE with Matina Schaak and Roberto
Capanna; german patent of an interactive system for the transformation
of dance-gestures in optical and acoustic signals called ›Choreophon‹.
1992-93 development and german patent of the ›Stabdämpfer‹
(bar mute), a special device for the preparation of stringed instruments.
Combined compositional work with performing activities as a pianist: works
by Scarlatti, Schönberg, Stravinsky, Satie, Messiaen, Scelsi, John
Cage, Terry Riley, Morton Feldman etc. and own arrangement: Earle Brown
4 SYSTEMS; Cage CARTRIDGE MUSIC. Concert/Lectures in Germany, Italy, Spain and other European countries, USA,
Canada, Corea, Israel.
In 2004, he leaves Berlin and settles in Cetona, Italy, where he continues his musical activities and writings, finally publishing some of his 'Dialogues'. His musical ideas and constructions keep him busy until shortly before he falls ill and dies from an aggressive brain tumour in January 2019. Mario is buried in the small family chapel in the mountain village of Pianosinatico (PT) in the Appenino Tosco-Emiliano.
»Mario Bertoncini is one of the major revolutionaries
in the history of contemporary music. ... He always
searched for new methods of composition and different
sounds. ... His ideas became the fundament of post-serial
avantgarde - numerous composers adapted them to their own
work. ... Listening to Bertoncini's music is different. One has to tune his ear to the magic drones and sounds. The drama of this music is three-dimensional: Space, density and combination. « Matthias Entreß, English Intro for Tongyeong International Music Festival 2002
The written estate is to be found in the:
>
akademie der künste, berlin: archiv bertoncini
!Beware! not registered in its entirety yet! please contact me for any details
The sound objects, performance kits etc. are to be found in the:
> fondazione isabella
scelsi, rome: fondo bertoncini
!Beware! not registered in its entirety yet! please contact me for any details