Biography

He improved his studies in flute with Arrigo Tassinari, in piano with Vincenzo Vitale, in orchestra conducting with Franco Ferrara and in composition in Milano with Umberto Rotondi. He went on to specialize in composition in Friburg, Germany with Luigi Nono. In this occasion he dealt with further live experiments in electronics related to the work of the Prometeo in the Phonology Music Studios of the National German Broadcasting.
In the 1978 his work is performed in the festival Musica del Nostro Tempo (Milano) and his work Musica X 12 is published by the Suvini-Zerboni. In 1979 one of his composition is performed in Concerti of Spoleto in the Festival dei Due Mondi where the artistic director of the music section was Mario Bortolotto who liked very much his style. One year later there was his debut as conductor at the Alessandro Scarlatti Orchestra of the RAI (National Italian Broadcasting) in Napoli.
Excellent performers as Ciro Scarponi, Andrea Franceschelli, Roberto Fabbriciani commissioned him some works. In 1982 he became the founding conductor of the ensemble NuovaNapoliMusica undertaking an intense performance and recording.
He started to collaborate with prestigious musical Institutions as: Teatro La Fenice (Venezia), Lim (Madrid), Musique Vivante Teatro Chaillot (Parigi), Festival Pontino (Sermoneta, Abbazia di Fossanova), Cantiere Internazionale (Montepulciano), Nuova Consonanza (Roma), RAI (Napoli, Roma, Milano, Torino), Ente Autonomo Teatro alla Scala, Pittsburgh University (USA), Amici della Musica (Palermo), Istituto Italiano di Cultura (Stockholm), National Swedish Broadcasting, Filarmonica George Enescu (Bucarest), Festival di Sargiano, Festival Palazzo Pitti (Firenze), Festival Musica Realtà (Reggio Emilia), Incontri Nazionali della Nuova Musica Villa Pignatelli (Napoli), Strawinsky e Picasso in Partenope, Teatro di Corte Palazzo Reale (Napoli), Teatro San Ferdinando (Napoli), Ente Teatrale Italiano, Compagnia teatrale Il Sole e La Luna (Napoli), Amici della Musica (Milazzo), Associazione Alessandro Scarlatti (Napoli), Estate Musica (Agropoli, Italia), Centro studi e ricerche Serafino Zani (Brescia), Musica al Chiostro Duomo di Amalfi, Music Art foundation (Perugia), Accademia Musicale Pescarese, Teatro Abeliano (Bari), Teatro Ariosto (Reggio Emilia), Società Filarmonica (Chiavari), Telediffusione Italiana, Goethe Institut (Napoli), Associazione Polifonica di Napoli, Amici della Musica di Vibo Valentia, Centro Internazionale per la Divulgazione della Musica Italiana (Venezia), Teatro Tempo (Imperia), Associazione Musica Aperta Comune e Provincia di Bergamo, Opera Daedalus (Roma), Amca (Amalfi), Teatro Galleria Toledo (Napoli), Amici della Musica (Campobasso), Provincia di Pescara, Facoltà di Scienze Fisiche Università Federico II (Napoli), Città della Scienza (Napoli), Museo Archeologico Nazionale di Napoli, Comune di Roma, Accademia di Belle Arti (Napoli), Soprintendenza per i Beni Archeologici di Napoli e Caserta, Istituto Universitario Suor Orsola Benincasa (Napoli), Università Orientale (Napoli), Associazione Napoli nel Mondo, Associazione ex allievi San Pietro a Majella, Associazione OPS, Associazione Amici di Castel Sant'Angelo (Roma), Azienda Soggiorno e Turismo di Perugia, Università di Salerno, Amnesty International, Gamo (Firenze), Comune di Firenze, Conservatorio Vivaldi (Alessandria, Italia), Festival Internazionale di Brasov (Romania), Nuove Forme Sonore (Roma), Rondottanta (Sesto San Giovanni, Milano) Concerti di San Sepolcro (Pisa), Filarmonica Laudamo (Messina), Teatro Metropolitan (Palermo), Ente Teatro Cronaca, Galassia Gutenberg, Direzione dei Beni Culturali (Napoli), Sky Denaro TV, Fondazione Axel Munthe (Stockholm), drawing the attention of the critics.
In 1983 he conducted the first recording of Laudes Creaturarum written by Goffredo Petrassi with Luigi Proietti as voice performing and several works in première in Italy and foreign, written by many important composers as Aldo Clementi, Donald Martino, Luis De Pablo, Franco Donatoni. During 1984 he lived in Paris and there collaborated with Musique Vivante at the Theatre Chaillot and conducted the monographic concert La scuola di Donatoni at the Auditorium RAI of Napoli by the Orchestra Scarlatti, a project which consisted in performances of authors as: Donatoni, Laganà, Solbiati, D'Amico, Molino. In the same year at the Festival Pontino he conducted in first public performance the work 1904 written by Aldo Clementi dedicated to the 80th birthday of Petrassi and recorded on Fonit-Cetra label.In 1985 he came back to Italy. There he received a commission of a symphonic work by the RAI for the Orchestra Sinfonica of Torino, in occasion of the European Year of the Music. So he wrote Le stanze oscure that was performed and broadcasted in Europe under the conducting of Gianpiero Taverna.
Besides, Enrico Renna started a rich collaboration with Edipan of Bruno Nicolai who commissioned him the work Lo specchio di vera penitenza extracted from the book of Enrico Panunzio. This composition had been first public performance at the Teatro Flajano, Roma, under his conduction.
Then he met the famous composer and clarinet player Jesus Villa-Rojo, who usually collaborated with Pierre Boulez, and hence it started a collaboration with the Laboratorio de Interpretaçiòn Musical.
Some Enrico Renna's compositions became part of the repertory belonged to Ciro Scarponi, Giuliana Albisetti and Annamaria Morini and were either inserted in some music masters in Desenzano sul Garda and Castiglione del Lago. He conducted for some years the Centro Musicologico del Cilento and the Associazione Cathy Berberian. In 1990 he was demanded to conduct the camera orchestra of Collegium Philarmonicum which commissioned some works to several composers from whom: Umberto Rotondi, Michele Dall'Ongaro, Daniele Lombardi. At the same time he was involved in the cameristic activity as pianist working together with artists as: Joan Logue, David Keberle, Avon Stuart. During 90s he derected the Laboratory of Theory's Interpretation and Musical Analysis at the Università Popolare di Caserta. In 1993 he wrote a sacral hymn commissioned by the Papal Institute M.P.F. Since 1994 to 1995 he studied ancient chants of Cilento, and he wrote and recorded Carmina Cilenti for voice and instruments, whose merits were recognised by public and critics as for example by Gillo Dorfles who reviewed on the Corriere della Sera newspaper and by Girolamo De Simone who reviewed on the Manifesto newspaper. His works embraced theatre works, sinfonic, cameristic, electroacoustic and sacral ones. He published and recorded for famous labels as the Bmg-Ricordi, Rca, Edipan, Suvini-Zerboni, Fonit-Cetra, Bubi Classic C&G, CPC, EurArte. He was strongly involved in sustaining, performing and spreading the contemporary music over the limits of the language. Many of several first performances of contemporary composers, had been conducted or performed by him in the role of pianist recorded by RAI or on cd. He was founder and teacher of the Experimental School of Composition and recently of the School of Theory and Techniques of the Musical Composition at the Music University Conservatorio San Pietro a Majella in Napoli. He collaborated with reviews specialized as: 1985 La Musica, Civiltà Musicale, Laboratorio Musica, Prospettive Musicali, Konsequenz; he was chief writer of the classic section of the web magazine Musicboom, and responsible of a sector on the magazine All About Jazz and AltriSuoni.org. In the spring 2002 he collaborated as teacher with l'Ismez in the field of jazz courses directed by his disciple Francesco D'Errico. In the same year he wrote and conducted Sinfonia delle Campane in the Nervi Auditorium in Italian Institute of Culture in Stockholm, for five groups of percussions, an actor, lights and environment. He had been mentioned in the Dictionary Encyclopaedic Universal of the Music and Musicians Utet, in Contemporary Musicians of Cembalo Edition, in the Italian Music for Arpa Bongiovanni Edition, ITACO, Italian compositors CIDIM, History of Music by Renzo Cresti, Encyclopedia of Contemporary Italian Composers Pagano Edition. A lot of critics had written positive comments on his compositions as Mario Bortolotto, Gillo Dorfles, Pietro Mazzone, Girolamo De Simone, Venanzio D'Agostino, Francesco Canessa, Marina Mayrhofer, Renzo Cresti who wrote in the essays "Verso il 2000" (Dick Peerson Edition) where he underline that Enrico Renna “Here tells the research of the essentiality”, published in collection Linguaggi della Musica Contemporanea Miano Edition (Milano, June 1997). Currently he is dedited to the research in the linguistic and technonogical fields dealt with composition and musical performances. In July 2007 he receives from Kulturrådet (Committee of Swedish culture) the charge to write a work for the percussionists Mika Takehara and Ludvig Nilsson with the support of the Foundation Axel Munthe Villa San Michele (Anacapri) directed by Peter Cottino.