Poemi Asolani
| Movie | |
|---|---|
| Original title | Poemi Asolani |
| Country of production | Italy / Germany |
| original language | Italian , German |
| Publishing year | 1985 |
| length | 60 minutes |
| Rod | |
| Director | Georg Brintrup |
| script | Georg Brintrup |
| production | Brintrup Filmproduktion, Rome, WDR |
| music |
Gian Francesco Malipiero , Igor Stravinsky |
| camera | Emilio Bestetti |
| cut | Carlo Carlotto |
| occupation | |
|
Philippe Nahoun : Gian Francesco Malipiero | |
Poemi Asolani is a music film by the German filmmaker Georg Brintrup from 1985 about the Italian composer Gian Francesco Malipiero (1882–1973). A musical without singing but with a speaking voice. The title of the film is also the title of a famous piano composition by the composer.
action
It is Malipiero himself (played by the French actor Philippe Nahoun) who evokes the important episodes from his life: I remember everything. A cruel joy that I seek and that torments me because it transports me into a world that rules my imagination.
His first memories go to the Venice des Fin de Siècles , the city where he was born. The musical tradition of the “ Serenissima ” shapes him. He will feel a bond with her all his life. Although he studies at the music academy in Bologna with the famous maestro Marco Enrico Bossi , his true teachers are the ancient Italian composers Palestrina , Gesualdo da Venosa , Orazio Vecchi , Claudio Monteverdi and Domenico Scarlatti . Malipiero becomes self-taught and separates himself from his classmates, who are still emulating the outdated academic discipline and Italian melodrama .
He travels to Berlin and Paris to perfect himself in his art. In Paris he met Alfredo Casella , who asked him to postpone his departure in order to attend the world premiere of Igor Stravinsky's “ Le sacre du printemps ”. That night, Malipiero woke up from a "long and dangerous lethargy". He is now completely changing his compositional style, becoming freer, more anarchic in expression. He continues to distance himself from the style of his Italian colleagues.
Back in his homeland, he discovered the small town of Asolo on the hills of the Veneto Alps during a trip with friends . He falls in love with the place and returns there every November. This was also the case during the First World War, where he lived in the house that Eleonara Duse would later live in. On the night of November 1, 1916, he observed an extraordinary spectacle: between cannon shots and distant thunder, he saw the rising flames of large fires through the fog, which the farmers in the cemeteries of the Po Valley traditionally light on All Saints' Day. I have to confess that, without wanting to tell or reproduce anything, I was forced to write the 'Poemi Asolani'. I was sure not to contradict myself. The First World War changes his whole life. But he knows that if he has created anything new in his music, in style and form, then it will be in this period. The works of this time reflect his inner restlessness. The “pauses of silence” of 1917 do not represent a tendency, no intention that is not purely musical. They were conceived during the war when it was difficult to find peace and if I ever found them I had to fear that my music would interrupt them.
In 1923, Malipiero finally fulfilled his dream of living in the country to escape the noise and to withdraw even more. He leaves Venice and moves to Asolo forever. But even there, in his house, which is at the foot of a hill with the forecourt of a small church between cypresses, he does not find the peace he longs for: in my house I often find myself with no way out felt like a mouse trapped. The church square is now the most secular place in Asolo, where people play screaming and play screams. Malipiero has double windows and hermetically sealed doors installed and works mainly during the night. For him, noise is increasingly becoming a destructive force. You can control light, but not noise.
He comforts himself with the animals, surrounds himself with dogs, cats, chickens, birds. Animals are much more musical to him. Your voice mixes with nature, with the voice of the earth. The man who is completely detached from nature no longer even agrees with it when he sings or thinks he is singing. Despite his nightmarish phobia of noise, Malipiero composes numerous symphonies, quartets and piano works in his unmistakable style.
The first contact with the audience: devastating reviews, differences of opinion among the audience. Who is actually listening to the music? The ones who hate the music the most are the lovers. The Italian criticism does not forgive Malipiero. He is accused of blackening 19th century Italian opera. He always held back from any position 'against' something and preferred to fight 'for' something. He is convinced that over the past two centuries music has been reduced more and more to the two keys of major and minor, and that the system of tempered tuning has made it possible, from a physical point of view, to develop the hearing that is no longer related to musicality of a Palestrina or a Domenico Scarlatti. In addition to his actual compositional activity, Malipiero begins the time-consuming and complicated work on the new edition of all of Claudio Monteverdi's works.
At the end of his life, Malipiero states that he does not have the same love for all of his creations. The music he wrote for the theater represents a kind of barely perceptible mirage for him. All his life, however, he obeyed a principle that was indispensable to him: I relentlessly rejected and destroyed what was the fruit of my will, instead of my instincts.
Film music
The soundtrack is, with one exception, exclusively musical works Malipiero:
- San Francesco d'Assisi , mistero per soli, coro e orchestra (1920–1921, New York 1922)
- La bottega da caffè (1926)
- Impressioni dal vero (il capinero) (1910)
- Impressioni dal vero (il chiù) (1910)
- Le sacre du printemps di Igor Stravinsky (1913)
- Impressioni dal vero (il picchio) (1915)
- Poemi asolani (1916)
- Pause del silenzio I, (1917); II Sul fiume del tempo, L'esilio dell'eroe, Il grillo cantarino , (1925–1926)
- Quartetto per archi n.1 "Rispetti e strambotti" (1920)
- Sinfonia n.1 "In quattro tempi, come le quattro stagioni" (1933)
- Sinfonia n.6 "Degli archi" (1947)
- L'Orfeide (1919–1922, Düsseldorf 1925), in tre parti:
- I "La morte delle maschere",
- II "Sette canzoni",
- Sinfonia n.7 "Delle canzoni" (1948)
background
Poemi Asolani is the title of a piano composition by Gian-Francesco Malipiero and is interpreted by Gino Gorini in the film of the same name. The film is a music film or a musical without singing. Only instrumental music is used in the film, so that it becomes an accompaniment to the filmic action. Indeed, Malipiero's music is decidedly cinematographic, so it is suitable for accompanying or accompanying a cinematic plot. - Malipiero himself wrote the music for two films: Acciaio by Walter Ruttmann (1933) and Die goldene Karosse by Jean Renoir (1952). - The scenes in the film were written as a function of the music. Each shot was assigned a certain number of bars and notes in the script. The movements of the actors and the camera follow the musical works in terms of tempo and rhythm. Since Malipiero's music is often based on certain environmental noises, these noises are associated with the music in the film and treated equally with it.
Reviews
“Georg Brintrup approaches the composer from a curious distance. He goes to the places of his life, recreates scenes of the time with actors, wordlessly and metaphorically focused, he listens to the rhythm of the music, takes him on for example in rotating carriage wheels, in trees and bushes moving in the wind, in cuts, pans and zooms. An old, brittle voice quotes only original texts from Malipiero to the calm flow of exquisite beautiful images.
Brintrup succeeds in the rare feat of creating the wondrously fictional portrait of a distant artist in the always alienated series of images interspersed with surrealist allusions; successful because of the courage to experiment with design, for the independent visual reproduction of verbal and musical art. "
“The (German) film tells the composer's life through his music. To that extent it is a music film, but without vocals. The uniqueness, however, lies in the fact that the scenes in the film were created as a function of the instrumental music: every single shot had an exact number of musical notes and bars from the beginning, so that every act of the actors and the movement of the camera solely through speed and Rhythms of musical works was shaped. "
“He was called the 'old man from Asolo'. ... The joke about Malipiero was that he took care of the untimely with a surefire instinct; and when the music world understood how brilliantly Mailipiero had thought ahead, his alert mind was already on another matter. "
“In the film 'Poemi Asolani' by German director Georg Brintrup, photography becomes the protagonist, for which Emilio Bestetti is responsible. A fictional film that deals with the themes of time and nature in the memories of the musician Gian Francesco Malipiero, and depicts them in incredibly strong and accentuated colors. This is how true 'light paintings' of chromatic intensity are created. "
distribution
Poemi Asolani was shown first at the Prix Italia 1985, then at the Festival del Cinema di Salsomaggiore Terme 1986 and at the Festival Internazionale d'Oriolo 1986, where he won the prize for best photography. The first broadcast on German television WDR was on October 5, 1985, on Italian television RAI only ten years later, on September 9, 1995. The film was shown in all third programs in the Federal Republic and was broadcast on First in 1986 . The last broadcast so far was in 2002 on 3sat .
Web links
- Poemi Asolani in the Internet Movie Database (English)
- official presentation of the film
Individual evidence
- ^ A b Prix Italia 1985 , Cagliari, communicato stampa
- ↑ La pietra del bando , Capitolo I. - Se si possa raccontare di se e di ciò che dicono le cose che vivono con noi. - Edizioni Amadeus, Soligo (Treviso), 1990
- ↑ Ibid. , Capitolo III. - Alla scoperta di Asolo.
- ↑ a b c Ibid ., Capitolo IV. - La tragedia del rumore e rumori senza tragedia.
- ↑ La pietra del bando , Capitolo V. - Un collezionista.
- ↑ Lettera a Guido Maria Gatti , stampato il 7 marzo 1964, Fondazione Giorgio Cini, Venezia 1964
- ^ I profeti di Babilonia , I fascicoli musicali, edizione: Bottega di Poesia, Milano 1924