Vinicius Giusti was born in Pato Branco, Paraná, Brazil. Giusti was a member of a family of musicians and his father was a well know keyboard player in the 70s. Giusti began piano lessons with 5 years old. At the same time he studied in the technical school of electronics, he composed songs and commercial music in his father’s recording studio. In 2000, he moved to Curitiba and started his studies in composition in the School of Music and Fine Arts of Paraná (EMBAP) with Maurício Dottori. During that period he was a founder of the ensemble entreCompositores, a group of composers that aim, through a collaborative work, to promote the contemporary music in Curitiba. Vinicius directed with the ensemble entreCompositores the subsequent projects: ensemble entreCompositores first concert – presented in Teatro da Reitoria in 2003 ; project (N) – presented during Oficina de Música de Curitiba in 2004; Solos, duos e dipositivos eletrônicos in 2004 and De Mar a Mar, in 2006, presented in the Série Intermezzo – Música em Pauta.
Following his professor of composition, in 2004, he transferred his studies to the Federal University of Paraná, and concluded his first bachelor in Music Production in 2006. His thesis [The contrast in the perception of the sonorous elements in the piece All that you know not to be is utterly real by Maurício Dottori] receives the score of 95 of 100 points.
After that, he worked as an audio engineer at the Paulo Freire Television, part of an educational project of the State of Paraná, as a responsible for the music and audio recordings in the audiovisual production of the television channel.
In 2007, he decided to move abroad to continue his studies. In the Conservatorio G. B. Martini di Bologna, Italy, he studied electronic music composition with Lelio Cammilleri and Franceso Giomi. In that period he composed his first acousmatic music to be diffused in 8 loudspeakers: Que som è esse? (2009). Later, Memórias – for piano and tape in 8 ch. (2010). Flânuer, an acousmatic music for 8 ch. was composed during an Erasmus Programm conducted in the HFK-Bremen.
Que som è esse? was presented in different occasions: Sight, Sound, Space and play conference 2014 in the De Montfort University, – Leicester; 16° Acousmatique International Festival, LÉspace du Son – Bruxelles; ANimALOGICA 2 Bologna Synth Meeting – Bologna; in the Musikwissenschaftliches Institut de Universität zu Köln Musik der Gegenwart – Koln; and La terra Fertile – Conservatorio di musica “Luigi Canepa” – Sassari. The piece also was awarded in the 18ª Bienal de Música Brasileira Contemporânea – Rio de Janeiro.
Flânuer also had a long journey, the piece was played in the following concerts: in the Institute of Sonology, Koninklijk Conservatorium – Den Haag; Folkwang, Universität der Künste – Essen; 43. Elektronisches Konzert, HfK – Bremen; next_generation 5.0 akusmatik – Karlsruhe, where the piece was played in the original GRM Acousmonium sound diffusion system; and in the Sonorities Festival – fractured narratives 2015 in the amazing structure of the Sonic Lab at Sonic Arts Research Centre – Belfast.
Giusti completed his studies in Bologna and received the maximum vote, 110 cum laude, with the degree thesis in Musica Elettronica: Space, Sound and the Electronic Music.
In the winter semester of 2010/2011, he started his studies in composition at the University of Arts in Bremen. Kilian Schwoon was his professor in electronic music and Younghi Pagh-Paan and Jörg Birkenkötter oriented him regarding instrumental compositions. He composed in Bremen a total of 9 pieces: Flâneur – acousmatic music in 8 ch. (2011); Sopro em Silêncio – Silbermann-Orgel and two voices (2011); Sensos – for Orchester (2011); um bocado – acousmatic music (2011); Estudo Aberto – Flute, Clarinet, Violin und Violoncello (2011); Kolongala elettronica – Percussion and live-tape in 8 ch. (2012); Eco di Kolongala – acousmatic music in 8 ch. (2012); Ressoa – for prepared piano and live-electronics in 8 ch. (2012/2013) and (Des)encontros – for ensemble, improvised percussion, live-electronics in 8 ch. and video.
Also he took part in two extra projects that had prominent results in the University. The first one was the composition of the music for the HfK-Video: Film-Impressionen der Hochschule für Künste Bremen. The second one was the project In Between – Mode Medien Music, in which he headed with Ephraim Wegner the electronic music part of the project and had the kolongala elettronica e Eco di kolongala included in the program, which initially were composed for this occasion.
Even though he has being living in Europe, he continued working with the ensemble entreCompositores in Brazil. The group headed a festival of new music in Curitiba called Music Today Biennale, which was supported by some institutional partners. The first edition was in 2011, when he curated a concert of electronic music and invited Professors from conservatories around Europe and their students to present their acousmatic music in Curitiba. Moreover, in 2011 the Music Today Biennale was performed a total of 10 concerts with different ensembles and music from 62 composers of 18 different countries. In 2013, in the Festival 12 concerts were performed. It was presented a total of 60 different pieces – historical pieces of the XX century, as well as premieres and improvisations. Additionally, the festival embraced a competition of composition for the orchestra of the state of Parana (OSP); a workshop for composers with Marcos Balter, composer based in Chicago, and with the ensemble Platypus, from Wien, notwithstanding an amount of concerts outside of the traditional concerts hall of the city.
Giusti was also a co-founder of the Myotis Kollektiv. The aim of the groups is to perform projects in the field of new music including improvisation and electronic music. Moreover, also support and encourage composers to work in direct collaboration with musicians. Nowadays the group is composed by Johannes von Buttlar – percussion, Johannes Haase – violin and electronics, Lukas Rickli – piano and Giusti performing the live-electronics.
His two last compositions are also influenced by the integration of improvisation and live-electronics.
Ressoa – for Piano and live-electronics in 8 ch. was constructed with prepared sounds applying different cymbals in contact with the piano strings. Eight prepared sounds were composed, which were amplified, transformed and distributed on the sound space through the live-electronics. The pianist presents single ones or a combination of sounds in a continued and improvised way. The pianist Lydia Hammerbacher played the premiere of the piece in her concert diploma. Moreover, the piece took part of the PGNM Festival in 2014, one of the most important festivals of new music in North Germany.
(Des)encontros – for ensemble, improvised percussion, live-electronics in 8 ch. and video was composed for his diploma concert in composition at the HFK-Bremen. In this piece co-exists two kind of section, in one hand sections with improvised freedom for the musicians, for the other sections with a constrained rhythmic musical structure. As the time goes on, this difference became increasingly tenuous and the sections start to a process of smelting. The piece was composed in substantial collaboration with each musician. The sound material to compose the electronic tape and live-electronics were created in sessions of improvisation, where the interaction between the personal repertoire sound of each musician and the live-electronics was recorded in audio and video.
He completed his studies in Bremen in september 2014, when he performed a coloquium about his piece (Des)encontros for a board of examiners and presented a degree thesis named: The musical time in “Partiels” – Gérard Grisey.
Nowadays, he is a PhD Candidate at the Brunel University London supervised by Jennifer Walshe.