At
the age of seven Enrico Euron begins studing music with the aged organist in the
church of his birth place. At thirteen he is aedmitted at Torino's Conservatory,
Giuseppe Verdi.
He
graduates in Organ and Organistic Composition with M° Guido Donati and he
obtains the "Compimento inferiore in Composizione Principale". He
specializes in medieval music and at a stage in Forlimpopoli he meets and he
studies with Marco Ambrosini of the Clemencic Consort. In the meantime he
studies violin and Orchestra Direction with a privately.
He
starts the concertistic career as an organist. His first compositions are played
and they earn full consent ("Divertimento per pianoforte e
orchestra",1986; "Fanfara per un deportato",1988). He becomes
vicedirector and clavicembalist of the orchestra "Il Ruscello" of
Torino
He directs Torino's orchestra "Harmonia Mundi for
three years. He obtains the Organ's chair at Collegno's Musical Assosiation, to
which Orchestrals Exercitations is added short after. He startscollaborating
with medieval music groups.
He
begins the studies of Etnomusicology at the litterary faculty at the university
of Torino. His historical interests brings him to the Irish and Breton's musical
tradition.
He starts visiting Bretagne:where he studies celtic harp
with Myrdhin; he also partecipates at the "Trophee International Carolan",
where he is the third classified, and at the "Trophee International Aiwan",
where he obtains the public jury prize with his composition "Ered Lomin"
after included in the CD, Aisling.
Maintaining
contacts with Bretagne he travels to Ireland, where he studies traditional
celtic harp tecniques with Emer Mc Laverty and Měcheal Rooney, members of the
"Belfast Harp orchestra". In the following years, he starts the celtic
harp concertistic career, which brings him to play in Italy, France, Ireland and
Germany.
He continues the studies in Scotland, with Savourna
Stevenson, and in Italy he obtains the celtic harp chair at Collegno's Musical
Assosiation. His historical and musicological studies brings him to collaborate
with the University , in particular with professor Melita Cataldi, who is the
teacher of Irish Litterature History in the Torino's university.
He is second at the "O'Carolan Harp Competition", the main competition
of celtic harp in Ireland.
He
publishes "Metodo per Arpa Celtica" in two volumes, with Arpitalia
(CO). His method is stil today the only available in Italian. He is more often
occupated in conferences and seminaries on Irish music history and on
traditional celtic harp tecniques. He starts the group Tuatha De Danann with the
intentof rebuilding and playing the acient Irish repertory, following a
historical approach. The concerts with the group collect immediately an enourmus
public success, also because of the members' habit to tell the audience the
peculiarities and the origin of the played music. The group Tuatha De Danann
records its first CD, Aisling (1995).
Leaving the accademic concertism for the main part, with
the Tuatha De Danann, he exibits all over Italy. He holds conferences on history
of music in Ireland and on celtic harp tecniques. His biggest worry towards the
public is to teach not to confuse celtic harp, mitology and Irish culture with
esoterism, magic and druidism. The second CD Awen (1997) is released. The Tuatha
De Danann win the first prize at the competition "I Big di Torinosette".
He
publishes the collection "Irish Harpers in the XVII and XVIII century",
which contains a large historic part, beyond the reconstruction of inedit music
passages. The third CD, Duana (1999) is released; it recalls some aspects of the
"Belfast Harp Festival" in 1792. The concerts of the group are now
over 300 only in Italy.
His book "L'arpa dei Celti - Storia dell'Arpa e degli
Arpisti in Irlanda" is published by the publishing house Trauben of Torino;
it is a monografic treatise on the celtic harp. He is nominated Artistic
Director of Arpitalia. He organizes Feasta, international festival on Celtic
Harp, with the help of some members of the Tuatha De Danann; thousands of people
from all the Northern part of Italy partecipate at the first edition.
He
holds seminaries in different conservatories on the traditional celtic harp
tecnique. These courses are mainly addressed to teachers and to Dip. holders,
but they soon become a privileged meeting point for all lovers of Irish Harp.