Jacopo Gianninoto is a guitarist, lutenist and composer from Italy.
He started playing Guitar when he was 5 years old, since then he never stopped and he completed his studies at the Conservatory “A. Pedrollo” in Vicenza, one of the best school for plucked string instruments in Europe, under the guidance of Maestro Paolo Muggia. He also participated in several master classes with world famous musicians including the great Narciso Yepes and Mario Gangi, from which he has developed a personal understanding of classical guitar, specializing in early music and mastering the 10 string guitar.
Following his passion for early repertoire, in 1998 he started his research on original ancient plucked strings instruments with lute, theorbo and baroque guitar, under the guidance of Maestro Terrell Stone, who had a great influence on his musical ideas, studying also with Tiziano Bagnati and Francesca Torelli. He concentrated his performance studies in the execution of music from the 16th century, with his essential and minimalist interpretations, under the point of view of the execution and in the choice of repertoire, his great ability to deliver passionate performances and his enjoyable talks during concerts, he developed his personal way of understanding early music as something to be kept alive with authentic yet modern performances, as opposed to “dead” executions good only for museums. He is the creator and director of several artistic multidisciplinary projects such as “Baroque Me Baby”, “Renaissance Redux”, “The Praise of Folly”, “Romance is a hoax” “one on one performance”, “The Giordano Bruno Project”, always with the idea of emancipating from the ordinary concept of time that he perceive as one of the natural elements of music itself.
His research and authorship activity consist on several music manuscripts from Medieval, Renaissance and Baroque periods, and collaboration with publisher ”Armelin Musica“ from Padova (Padua, Italy) and he is the director, together with Maestro Muggia of “Recordare”, a series of books of transcriptions in modern notation of previously unpublished music for lute, baroque guitar and theorbo, adapted for classical guitar from the original tablatures, for the rediscovery of the Italian ancient repertoire. His publishing work include a revision for guitar of the A. Vivaldi’s “Concerto per due Violini Leuto e Basso RV93”, a transcription for guitar of the J.S. Bach’s sonatas originally written for solo violin, works on Vincenzo Galilei (father of the scientist Galileo), J.H. Kapsperger, F. Corbetta, I. Matelart, A. Piccinini, F. Spinacino, V. Capirola, S.L. Weiss and his books are widely known in the guitar world.
During his career he published many recordings and books, and he gave several recitals, concerts and master classes in many countries around the world including Italy, France, Austria, England, Poland, Bosnia Herzegovina, Singapore, Thailand and United States.
He is currently a Full-Time Lute and Guitar lecturer and Advisor for the Department of Music Performance at Assumption University of Thailand, and also collaborates with several international music and artistic institutions such as Fondazione Levi (as a member of the Comitato Scientifico), Opera Siam (as an Executive Committee member), Shrewsbury International School, Bel Teatro, Urban Bones Dance, B-Floor Theatre and All-Soul Theatre.
The main focus of his performance research is “Historical Performance Practice” and he dedicates himself to the study and interpretation of the early repertoire with original instruments. He uses and original French romantic guitar from the year 1805, one replica of a H. Frei renaissance lute, one replica of an anonymous Italian baroque guitar, one adapted theorbo (or Tiorbino) replica from a Dieffopruchar’s baroque lute and one replica Renaissance Guitar.
His approach is that of an “Historically Informed Performance” but at the same time to use the principles that guided the creativity of those artists from the past applied in a XXI Century context to create a new work of art and not simply a “museum friendly” performance.
