He began his musical studies at the Bresciano Youth Center for Music Education and then studied composition at the Brescia Conservatory under the guidance of Giancarlo Facchinetti, graduating with full marks. Eclectic author and performer, he has composed pieces for the most varied instrumental groups that have been successfully performed both in Italy and abroad. For some years he has dedicated himself to the production for plectrum orchestra, deepening his knowledge with the Orchestra of Mandolins and Guitars “Città di Brescia” which he has directed since 1985 and with which he has toured in Italy and abroad. Of particular prestige is the performance at the San Carlo Theater in Naples. He also carries out concert activities in various chamber ensembles (“Caronte” group, etc.). As a cornetist, flutist and harpsichordist he is part of the Ancient Music Group “Paride e Bernardo Dusi” with whom he has participated in important musical events such as the Venice Biennale, Settembre Musica in Turin, the Schwetzingen Ancient Music Festival (Germany) . Since 1988 he has held a course in orchestral conducting and score analysis annually. He is currently a lecturer at the three-year conducting course of Band in Bergamo and at the summer internship in Riva del Garda. His activity as a composer is constant.

Felix Resch has been Rector of the Bolzano Conservatory “Claudio Monteverdi” from 2008 to 2014 where he is full professor of music theory and analysis. During his composition studies with Professor Francesco Valdambrini at Bolzano Conservatory he began composing a considerable number of various chamber music works (Quartetto d’archi, Sonata Pf. e Vlc. Cadenz per VI. Solo, Ballade per Pf. Fantasia per Ob. e Pf.) and orchestral works (Perspektive I per orchestra, Perspektive II Fl. solo e orchestra, Strade segnate Soprano set to texts by Marco Cagol). He graduated in choral music and choral conducting in 1981 and started his teaching activity at Tartini Trieste Conservatory while he continued composing alongside his job as a choir director. He has been awarded various national and international prizes as choir director of the musical ensemble “ars cantandi” (in Arezzo, Verona, Vittorio Veneto) and as composer of choir music in Italy, Austria, the Czech Republic, Spain, Switzerland, Hungaria and Germany. Among his major compositions of that time are the oratorio “Michael Pacher” (set to a text by Karl Lubomirsky for choir and orchestra, performed in Brunico, Bolzano (I), St. Wolfgang (A) and Szombathely (H), “über allen Gipfeln” prize AGEC, “T.T.T. 1908” for actor and brass ensemble, Gustav Mahler-Wochen/Dobbiaco (text by Hermann Winkler), “Geraum” for 2 percussions and choir (text by Oswald Egger), “kaiseriade” (text by n.c. Kaser) for wood orchestra commissioned by Festspiele Uster; a capella choir citiamo “Wachsamkeit” (es. Stimmen/Innsbruck), “Sgelo” (text by Sebastiano Satta, commissioned work Spittal a.d. Drau, Austria), “Horizontale Verschiebungen” (text by J.W.v. Goethe) commissioned by Transart Bolzano. The compositional work of Resch is characterised by interdisciplinarity and shows different aspects of contemporaneity.
Various compositions of Felix Resch have been registered by radio/TV public Rai/ORF/SFS and recorded on CD.

He completed his musical studies under the guidance of Ruggero Chiesa at the G. Verdi Conservatory in Milan, graduating with full marks. He perfected himself following the Wiener Meisterkurses with David Russell and various masterclasses with Oscar Ghiglia, Leo Brouwer and David Tanenbaum. He has given concerts in Italy, Switzerland, Finland, Norway, Denmark, Estonia, Lithuania, Greece, Canada and Germany. He recorded the complete works for guitar and fortepiano by Ferdinando Carulli (on 8 CDs) and the chamber works by Filippo Gragnani and Anton Diabelli. He made the first full recording of Luigi Legnani’s 36 Capricci. He is a member of the “Milan ‘808 Ensemble”. He has collaborated with the Divertimento Ensemble, with the Dedalo Ensemble with the MDI Ensemble and with the New Made Ensemble. For some years he has also dedicated himself to the theorbo for the realization of the continuo, collaborating with various ensembles of ancient and baroque music.

Pieter Van Tichelen first laid eyes and fingers on a mandolin at the age of 6. After graduating with high honours at the music academy of Brasschaat in 1996, he pursued studies in musicology at the University of Leuven. In 2000 he graduated magna cum laude to a Master’s degree in Musicology on a thesis about 17th century mandolin history. Afterwards he took up mandolin classes at the Tilburg Catholic Conservatory with professor Benny Ludemann (not pursued until graduation). Pieter has played mandolin in several of Belgium’s symphonic and opera orchestras (Vlaamse Opera, De Munt, Vlaams Radio Orkest etc.). He also recorded several CD’s as session musician, and played several years in a Dutch-Belgian folk ensemble (Aerdewerck). For more than 15 years, he formed a permanent mandolin-guitar duo with guitarist Johan Dias. Pieter is active as musician in the mandolin orchestra of Brasschaat (Brasschaats Mandoline-Orkest) since 1993, and started as assistant conductor and board member since 2010. As musicologist specialized in mandolin history, Pieter has uncovered several manuscripts and prints with parts for mandolin who were either though lost or even completely unknown (such the variation sequence La Pierre de Touche by Gabriele Leone from 1768, or the mandolin-piano sonata by Michele Bolaffi from 1794). He was honoured twice with a guest professorship at the Antwerp Music Conservatory to teach early mandolin history (to ca. 1850). In June 2018, he presented a paper at Mainz university on the subject of “Tolerance between instrumental repertories or commercial tricks? Mandolin-related prints prior to 1850” (publication forthcoming). Pieter shares the results from his ongoing research on his blog (http://www.vantichelen.name) and often includes modern and urtext editions of his discoveries.

Completed the lower and medium level school of music (Josip Hatze School of Music– the course in Music Theory) in Split.

Graduated the studies of the mandolin at the Cesare Pollini Conservatory in 2003, and Music culture at the Academy of Arts in Split in 2004.

Now is an assistant professor at the Arts Academy of the University of Split, before that she taught mandolin and chamber music at the music school of Josip Hatze in Split, Makarska and Dubrovnik. Participating in preparing the mandolin curriculum for basic and medium level schools of music, and the elaboration of the undergraduate university study of Mandolin.

Is a recipient of the recognition of the County of Split-Dalmatia for the exceptional success of students at the state competition in 2019. and 2021.

She trained at seminars for early music in Urbino (Italy), Trossingen (Germany). Participated in the work of EGMYO (European guitar and mandolin youth orchestra) in 1999 in Logrono (Spain), 2000 in Ferrara (Italy), and in 2012 as a tutor in Split.

Playing in various ensembles (Da Capo Mandolin Quartet, Split Mandolin Quartet, duo with guitar, duo with cembalo, duo with harp and trio with harp and flute) and wins awards in the country and abroad.

As a soloist performed with the early music ensemble Renesans of Belgrade, Serbia, the Dubrovnik Symphonic Orchestra, the Mostar Symphonic Orchestra and the Kolin Symphonic Orchestra (Czech Republic, Šibenik String Orchestra, UMAS String orchestra and mandolin orchestra Sanctus Domnio.

Cooperating with the Croatian National Theatre in Split, the Croatian National Theatre in Zagreb, and the Croatian Radio and Television Orchestra (Split Summer Festival, Porin Discography Awards, Cesarica Festival).

Concertmaster of the Sanctus Domnio Mandolin Orchestra of Split.

Is a member of the expert jury at the festival of klapa with mandolins and guitars in Makarska, as well as the regional and state competition HDGPP – and in the soloist category – mandolin.

Artistic Director of the “Giacomo Sartori” Competition since the First Edition. Concertist, professor of Mandolin at the “G. Verdi “in Milan.

Member of the Artistic Direction of the Giacomo Sartori Competition since the First Edition and promoter of the Sartori Project, he is active in the concert field as a violist. Chorus and orchestra director, he made several recordings and first performances. He is a professor at the Conservatory “C. Monteverdi “of Bolzano.

Professor of mandolin at the conservatories of Bari and Ferrara, internationally renowned concert artist, he performs and collaborates with major symphonic institutions including the Teatro alla Scala, the Teatro del Maggio Musicale Fiorentino, the Teatro Comunale of Ferrara, the Teatro Carlo Felice (Genoa), the Teatro Massimo Bellini of Catania, the Orchestra Sinfonica dell’Emilia Romagna, the Orchestra Sinfonica Siciliana, Carnegie Hall in New York, the Nashville Chamber Orchestra, the McGill Chamber Orchestra of Montreal, the Dartmouth Symphony Orchestra of New Hampshire (USA), the Philharmonia of St. Petersburg, the Chamber Soloists of Minsk (Belarus). His awards include First Prize and the special ‘Vivaldi’ prize at the International ‘Pitzianti’ Competition in Venice and First Prize at the Walnut Valley National Mandolin Contest in Winfield, Kansas. His deep interest in the appreciation and promotion of the mandolin is testified by his countless concert and teaching collaborations with mandolin orchestras all over the world from New York to St. Petersburg, from Montreal to Vancouver, from Saigon to Tokyo, from Berlin to London. Since 2000, he has directed the annual “Carlo Aonzo Mandolin Workshop” in New York and Milwaukee. In 2006, he founded and directed the Accademia Internazionale Italiana di Mandolino (and its orchestra), organising courses and workshops, a point of reference for mandolin players from all continents. He is regularly invited as musical director, teacher and jury president by well-known mandolin institutions such as CMSA Classical Mandolin Society of America, FAME Federation of Australasian Mandolin Ensemble, EGMA European Guitar and Mandolin Association, Schleswig-Holstein Musik Festival, Steve Kaufman’s Acoustic Kamp (Tennessee), Zupfmusik-verband Schweiz (Switzerland), River of the West Mandolin Camp (Oregon), Mandolin Festival in Berlin, Saigon Guitar Festival, Goa Mando Fest (India), Osaka International Mandolin Competition, Yasuo-Kuwahara Competition Schweinfurt (Germany) and ‘Concorso Internazionale per Mandolino Solo’ in Modena. As a researcher, he collaborates with the New Grove Dictionary of Music and Musicians and presents lectures on the iconography of the mandolin at numerous international universities, including Waseda University in Tokyo, Dartmouth College, St. John’s University in New York, Boston University, the New England Conservatory in Boston, the Wisconsin Conservatory of Music in Milwaukee, Vanderbilt College in Nashville and the National Museum of Musical Instruments in Rome. He has countless recording and publishing projects, both classical and otherwise, aimed at rediscovering and ennobling the mandolin in all its expressive declinations. His most recent collaborations include one with conductor Federico Maria Sardelli and pianist Bruno Canino.

In 2002 she won the first prize at the Japan Mandolin Solo Competition, and in 2008 she was a semi-finalist at the Yasuo Kuwahara Solo Competition in Germany. She gives solo concerts and chamber music concerts with piano, guitar and strings, and also performs as mandolin part extra in orchestras. She has performed as a soloist at the Sakutaro Music Festival in Maebashi, the Kobe International Music Festival, the Osaka International Mandolin Festival and the Setouchi String Festival. In recent years, he has also participated in the e-Dabashi crazys, pursuing the world of mandolin as yet unseen.

In addition to presiding over the Masukawa Mandolin School, she teaches mandolin at Ikegaku and Iguchi, a stringed instrument company, and is also involved in the training of younger students. She coaches the Tatebayashi Girls’ High School Mandolin Guitar Club and the Aoyama Gakuin High School Mandolin Guitar Club. Studied mandolin under Ikuko Takeuchi and guitar under Masashi Shinohara.

Mari Fe Pavón has appeared in concerts with musicians like Mstislav Rostropovitch, Estebán Sánchez,… Later, she studied with French guitarist Michel Sadanowsky in Paris and was a member of the “Trio de guitares de Paris”. Also interested in the search for unknown historical repertoires, Mari Fe Pavón learns the baroque mandolin and thus discovers the historical interpretation. Very soon passionate about this experience, she studied with Prof. Marga Wilden-Hüsgen at the Hochschule für Musik Köln. She has concentrated his apprenticeships, research and musical practices on the diversity of sources, oral and written, which she deems necessary for recreating the early and Baroque mandolin repertoires today. At the same time, she founded several ensembles (Il Forum Musicle, Duo Muñoz-Pavón, Luxembourg Mandolin Quintet, Stage International en Alsace, Artemandoline) with Juan Carlos Muñoz and very quickly she gave concerts throughout Europe and the USA, Canada, Japan, Spain, Germany, Netherlands, Belgium, Austria, Greece, France, Italy …) She is regularly solicited by the Philharmonic Orchestra of Luxembourg. She is also invited as a jury member in various international competitions: Luxembourg, Greece, Germany. She teaches mandolin, guitar and chamber music in Luxembourg. Mari Fe Pavón is co-founder of the ensemble Artemandoline, with the mandolinist Juan Carlos Muñoz.

With playing that is ‘utterly delightful’ (Musical Opinion) British mandolinist Frances Taylor has established herself as a leading interpreter of 18th century music. She has performed internationally, at high profile venues such as London’s South Bank and with many prestigious orchestras including the orchestras of the Royal Opera House and the Welsh National Opera. An enthusiastic educator and communicator, she runs workshops that specialise in combining mandolin with orchestral instruments. Her tireless work as ambassador for the mandolin spreads over four decades. She is author of The Mandolin Lesson, a memoir that shares her experiences of learning the mandolin in Italy.

Born in Tokyo, he has a degree in pedagogy and composition. He graduated in orchestral conducting both at the “Gioacchino Rossini” Conservatory of Pesaro and at the Music Academy of Pescara, in the three-year course of high specialization held by M. Donato Renzetti. His composition “Suite n.2” was chosen as a compulsory piece in the 6th edition of the “Giacomo Sartori” competition in 2017, to which he was also invited as a member of the international jury. He is associate director of Fujiwara Opera and permanent director of the high school mandolin club “Aoyama Gakuin” in Tokyo.