 I planted a flower in April, In May I sboggiò blazing red; That flower you, gentle lady, Flowers in my heart, courtesan. COLA - Act I Scene V |
The last decade of the nineteenth century - the quintessential spring defined the new art Italian music - now passes almost unnoticed.
That degree of stability which had seemed then to preserve the art of music to the wonderful Italian Verdi evolution, suddenly blossomed into a provincial realism that, according to erroneous assessments, would be the point of riferimento di una nuova concezione dell'arte e quindi di una nuova estetica musicale.
L'influenza mascagniana aveva fatto passare quasi inosservato l'apice della ascensione artistica di Giuseppe Verdi, perchè il « fattaccio » di cronaca quotidiana aveva cominciato a stendere un velo di incomprensione sul significato altissimo dell'ultima parola verdiana.
La divergenza verista affiorata improvvisamente sul decadentismo ottocentesco, trovò contro la sua spinta iniziale una corrente opposta nell'impressionismo che già aveva cominciato a far capolino, riuscendo poi a travolgere anche quel po' of Wagnerism remained dormant, despite the overwhelming infiltration and the solid foundation that had been built in Italy.
So at the beginning of the twentieth century we see the brackets disappear not only realistic, but also the danger Teutonic based leitmotiv and heavy sound.
The result was this course that the last burst of inspiration of the genius of Verdi finding no grounds for comparison with the new musical concept the last decade developed but not completely connected to the joyful spirit of Rossini, remained without an echo, while the new wave that was owned by Mascagni's Cavalleria disappeared completely within a few years and it was also a lack of decent attempts Giordano, Cilea, etc..
But the period, as short-term, unexpected fruit was then and still has, after the passing of the hidden treasures.
The realism on the stage had made his skin crawl to that part of the Italian public not accustomed to the violence of nature and more prone to sugary unreality, something else that is the very essence of art musicale.
Ma nelle regioni meridionali dove l'elemento ideale è tutto intessuto di tragicità e di violenza, il verismo trasportato sul palcoscenico, centuplicava la sensazione della realtà, riuscendo a trascinare e a conquistare la massa.
E se si riflette che l'anima popolare del mezzogiorno canta per istinto, per natura, per necessità dello spirito, ben si deduce che un'arte basata su elementi melodici, folkloristici e passionali è forse l'unica che risponda alla comprensione di quel popolo.
Arte regionale, I agree fully, but in the absolute sense of the word art, art that knows how to choose the innermost feelings, it can say a word of their own, who knows how to lead.
I thought all of this rereading that wonderful final seconds of Malìa the beautiful work of F. Paolo Frontini, the scene in which all the elements that tragic, passionate, superstitious and violent ideal of love, culminating in the extreme curse the statue of the Madonna, dragged under the windows of Jana devoted by the people.
Cry hell and damnation, painful crash against the insane folly of immense faith that dominates the hearts of the populace, silent before the mystery of the Godhead.
scene realism raw, brutal, but that is a fatal consequence of suppressed passion, annihilated by the inevitability of fate, she attacked a soul that fragile, very sensitive.
The music captures just the sweetest sense of human tragedy and describes the tumult of passion in a song that winds and gasps and sobs of despair and broad phrases of violence in which, however, always predominates il cuore.
Il popolo siciliano è unico nell'offrire questo strano contrasto di dolcezza tragica e violenta.
C'è forse bisogno di ricorrere al pletorico, all'assordante, a tutti i mezzi di cui dispone la scienza per descrivere il dramma che si compie in un minuto?
L'anima siciliana si ribella alla confusione: semplice, lineare, tanto nell'intrecciare un idillio quanto nel concludere una partita « d'onore », ha bisogno solo di chiarezza e di comprensione.
L'arte must be his, the songs must be his, the expression must say all the strength of feeling that lies at the heart feeling for which there are no pretenses, no restrictions, but should play pure and simple realism.
why the lucky Mascagni attempt to bring to the music scene of the play by Giovanni Verga quickly found strong deep roots in the South, where it seemed to lift all of a sudden a wave of fiery passion.
frontiniana But the conception, is linked to whether to attempt a realistic time, stands out profoundly, essence and as an ideal, by all that is transient and is inevitably conventional in this genre.
To understand this, you have to start from a perspective completely different from that of those who found an easy way of inspiration in artistic expression, which seems at first sight, accessible to even the most refractory.
The description of the life lived and the manifestation of the feelings that surge can suggest is true, an easy means of artistic expression, but often the conventional drag and vulgar enough to rise to the dignity of art; conventionalism moreover, that remains confined to a dead end with no hope of expansion and conquest.
But the art of F. Paolo Frontini, besides the obvious sincerity of an inspiration not plagued by questionable influence, we have elements of these regional and colorful bursts of passion all over Sicily, to make us ponder his Malìa not as other works by the same kind but, taken in isolation, as the product of an art typically more spontaneous genuine.
The simplicity of the means of expression is the only one that would emphasize the full force of inspiration, which is revealed in an unbroken line of melody really felt, the folk element, which is imbued with all this work of art adds value to the spontaneity of an intrinsic value as a typical example of regional art, and drama of superstition and love accentuates that sense of humanity on the stage every now and then does not hurt.
E 'futile search for the music of F. Paolo Frontini the dissertation, the sophisticated studied, academic pedantry, confusion, stiracchiatura done with his teeth.
its entire production, from small compositions for piano to 'work', bears a single footprint.
The source of 'inspiration is one, becomes the sole means of expression to translate into sound the ultimate meaning of their spirituality.
The tragic and idyllic always flow into melodic phrases that reflected the anxiety and calm.
The excitement is the melody, the melody is like love. The tremors nervous, hysterical, do not become burdens harmonic orchestral pletoricità: counter not only the nature of art but would be inconsistent with Sicilian folklore.
Malia in his capacity as a simple drag and traditional meditation and for those who feel coursing through their veins and the warmth of generous blood, it seems that the scent of orange blossoms in the air as it expands to mitigate nausea transience of worldly things.
But if the art of Scarlatti or Vincenzo Bellini became a national art, also the folk opera can offer a reason for changing a model and a sincere expression of spiritual people.
If it were not for all that has been said above, this has great value Malìa indisputable, to be a valuable source to which you can draw, if you really want to know the musical soul of Sicily, in F. Paolo Frontini is the most worthy representative.
the evolution that inevitably takes place, only to forget is unforgivable in beautiful things.
*............ But what concerns us here, and the correspondence points clearly, it is the decisive influence that, during his training at the Conservatory of Palermo, was on his meeting with Pitrè Frontini, learned and generous man who entertains reason with him to folk songs, told him his vital juices pei future directions.
Proof of this are the six collections of songs left from Catania, Sicily all about, and their high scientific value, not to mention the book of magic, the masterpiece, with music on a text by Luigi Capuana, where the environment is characterized by folk songs, ditties response, dances, found in a decidedly congenial composer to the poetry of the people, a performer of exceptional merit and sensitivity.
Extract from the book - and Solomon Pitrè - Marino
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