Alessio allegrini biography template

2009

Founded in 2009 by world-renowned horn player Alessio Allegrini and a group of musicians and humanists active on four continents, Musicians For Human Rights (MFHR) encourages professional musicians, audiences, and secondary school and university students musicians to take action to advance the well-being of people living at the margins. With a home base in Italy and a newly formed association in Switzerland, MFHR is active in three areas: performance, teaching, and working with people at risk.

Our very first activities were concerts in Italy by the Human Rights Orchestra to raise funds for MSF (Doctors without Borders) and for Al Kamandjati, an association created by violist Ramzi Aburedwan in Ramallah to provide music lessons for indigent Palestinian children.

We then formed partnerships with secondary schools in several provinces of Italy to provide workshops on music and human rights, each culminating with a free public concert for the students and the local community. Themes discussed in the classrooms were the right to water, the right to health, the right to asylum, the right to food, and the right to culture. We would illuminate each right by creating discussion materials and selecting relevant music. At the Scuola Belli di Roma, for example, a represen

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By Luca Benucci

The success of the Italian School of horn playing and teaching is due to the contribution of great soloists whose playing and teaching culminated in a special school and style of playing.  These players include Rossari, Belloli, Righini, De Angelis, Baccelli, Samson, and Bartolini. Today, the Italian School is divided into many technical philosophies but all converge into one musical ideal.

One philosophy, represented by a leading international hornist, Allesio Allegrini, is based on beauty of tone and virtuosity inspired by the greats of the past and present such as Luciano Giuliani and Domenico Ceccarossi.

My philosophy and approach distinguishes me from these greats – it is a combination of American tradition and techniques, European-style mentality (especially German), and Italian pathos, bel canto, plus a Latin temperament.  My teaching philosophy can be summed up in three letters:  A (air), B (buzz and blow), and C (canta/sing). Over the past two decades, thanks to Dale Clevenger and others, the technical level of horn players and other brass players in Italy has evolved greatly.

It is always interesting to place philosophies and pedagogical approaches into schools of thought for comparison.  This is why I organized the Italian B