Posts Tagged ‘column’

Backgrounds and foregrounds III

The attention paid towards the visual depth of field that can be found in operas set captions of composers working in Nineteenth Century last portion (like Puccini, Catalani, Mascagni, for example) can’t be considered like a simple and excessive desire of description, expressed by librettists (Giuseppe Illica in particularly). Nor it can be judged an act of pedantry imposed by documentary precision in order to describe or rather transcribe with words and ink on the paper the sets prepared for absolute première performance of each opera.
It instead reveals the composers interest towards all strategies enlarging the borders imposed by the architectural structure of theatre with upper-circle boxes (the opera house “all’italiana”), with the adoption of visual and acoustic depth of field opening.
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Limenmusic opens a new column: Area 51 (only Italian version)

Limenmusic inaugura una nuova rubrica grazie alla collaborazione di Annamaria Morini, rinomata flautista di fama nazionale e internazionale.

Il primo saggio vuole ripercorrere il secolo appena trascorso utilizzando come guida la “personalità” del flauto, “multiforme ma decisamente connotata,tanto che lo si potrebbe prendere come figura strumentale riassuntiva del XIX secolo.”

Il flauto meraviglioso del Novecento

(questo titolo si rifà al ciclo di Lieder di Mahler Des Knaben Wunderhorn.Il termine Wunder ha svariati significati,tra cui “meraviglioso” e “miracoloso”.Qui è da intendersi in tutte le accezioni possibili)

E’curioso che mentre il ventunesimo secolo avanza come un grande fiume ingoiando giorni e chilometri verso la sua foce,uno sguardo retrospettivo sulle ultime decadi del novecento faccia venire strani pensieri al flautista novelty – addict,drogato dalle novità e assetato di qualsiasi cosa purché nuova:nuova tecnica,nuovo pezzo,nuove prime esecuzioni.Pensieri che riportano indietro e fanno fare un eccellente allenamento in un’attività il cui esercizio va perdendosi:il recupero della prospettiva storica.Essendo il 900 ormai passato,appunto,alla storia,lo sguardo può spaziare in una visione d’insieme che supera gli angusti limiti del momento presente,o di quello appena trascorso,e valutarlo non suggestionati dall’effimero,ma per capitoli più vasti.Naturalmente ciascuno individua i capitoli che ritiene più significativi,o semplicemente lo appassionano di più,o gli servono per dimostrare qualcosa.Ciò che qui prenderemo come guida è la “personalità” del flauto;il che significa in una prospettiva novecentesca e progressiva (nel senso leopardiano) non solo seguirne l’evoluzione del suono e il ruolo nel processo,anch’esso novecentesco e “progressivo”,di totale emancipazione di questo parametro che da collaterale diventa centrale,da involucro essenza:ma negli stessi termini e nella stessa accezione in cui possiamo parlare della personalità del pianoforte nell’800,multiforme ma decisamente connotata,tanto che lo si potrebbe prendere come figura strumentale riassuntiva del XIX secolo.

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The crown jewels, by Sonia Arienta

The plot of Rigoletto and La Traviata no longer belongs to the knowledge of italian citizen majority. But the fault is not so much imputable to an audience of little curiosity and culture, annihilated and passive by the bidimensionality of tv, computers, screens, deceiving the ears with stereophonic tridimensionalities and dazing the eyes with a carnival of images too much often devoid of contents.

The core of the problem stays, rather, in the collusions between media sectors, ministries of education and the most trash exigences of entertainment business majors. Then, in substance, it stays in the short-sightedness of cultural politics, managed with ignorance and bad faith, in particular towards music.

Not teaching citizens about the best products of their nation is an irresponsible, foolish and self-injuring act, as to forget and to lay crown jewels to the sticky embrace of dust and cobwebs in a dark side of a cellar. So, they risk to lay unused, until at least somebody gives them a suitable display and diffusion. Fortunately, operas, like diamonds, do not decay even they are forgotten for a long time.

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Intersections, by Alfonso Alberti

The consequences of a totally-white painting

The Fifties in New York were an extraordinary time, due to the intertwining (human and artistic) life courses of great musicians and great visual artists.
Once, in those years, Morton Feldman, the composer, visited Bob Rauschenberg’s studio and came out of it with one of his Black Paintings, paid sixteen dollars and some change – all that he had in his pockets. The painting was hauled on John Cage’s Ford, the same car that, in another occasion, Cage would use for “inking” a painting, also by Rauschenberg, passing over it with blue ink-soaked tires.
The Black Paintings were all black; but Rauschenberg created also paintings that were completely white. Not partly, or almost completely, white. No, white – that’s all. One of the early reviewers of the 1953 exhibition, in which Eleanor Ward showed the White Paintings, was really Cage, who declared, fancy that, that the white paintings were not exactly white. Instead, they were “airports of the lights, shadows and particles”…
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