Anamorfosi
"The anamorphosis inverts the elements and principles of natural perspective: it projects shapes out of themselves, instead of confining them inside their visible outlines; it dismembers them to have them remade afterwards, as they come to be viewed from a given point, or reflected into a peculiar mirror. From all this, a world is derived in which reality and fiction tend to merge. This process establishes itself almost as if it were a technical frill: but inside it are indeed present a kind of Poetry of Abstraction, an actual Philosophy of Crafted Reality. At a first glance, images appear warped, hideous, unreadable: but seen from a certain point in space, or reflected thanks to special tricks, they became whole again, they normalize, manifesting previously un perceivable patterns. Visionary-minded people throughout the ages have cherished these transfigurations, in which Nature's fantastic side is revealed. The mirror-engined normalization, in which clearly defined shapes emerge from chaos, is also possessed of a supernatural element: in fact, the images are not anymore shown onto a flat surface, but in a suddenly revealed depth, glimmering with a metallic sheen. The image takes life, keeps shifting, changes at the slightest eye-movement. It is now whirling around inside a fairy realm, where each thing becomes present and untouchable at the same time." (Jurgis Baltrusaitis: Anamorphosis, or the Artificial Magic of Wonderful Effects, 1969).
Is this not, maybe, the selfsame magic that transforms the score's twisted and mysterious signs into a sublime music, using as a tool the instrumentalist-instrument - an anamorphic mirror that breaths life into the universe of sound symbols, 'present and untouchable' as they are themselves?
ANAMORFOSI - Musics in front of the mirror is a musical Wunderkammer, a “closet of wonders”, in which the pieces, chosen because of their elective affinities (formal, textual, emotional...) appear subdivided into four thematic 'mirrors': a new Theatrum Polydicticum, a mirror-hall where reflected sound-images give rise to a 'new' musical reality, where 'ancient' and 'contemporary' shake off the stiff boundaries which define them and keep them apart.
The project proposes instrumental and vocsl works of XVIIth c. and XXth c. (Jazz, Pop, author's songs) with original compositions and musical arrangements by Luigi Mangiocavallo for voice and historical instruments ensemble.
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| Conception by Giorgio Fava e Luigi Mangiocavallo | ||
| Original compositions and musical arrangements by Luigi Mangiocavallo | ||
| Performers: | ||
| Emanuela Galli, voce | ||
| Doron David Sherwin, cornetto | ||
Sonatori de la Gioiosa Marca (2 violini, viola, violoncello, violone, tiorba & chitarra, cembalo & organo) | ||
Authors and musics of 17th century
Cipriano de Rore, “Anchor che co’l partire” (1547)
(madrigale nella versione strumentale a 4 (1577), diminuito da R.Rogniono (1592), da D. Sherwin e trascritto da L. Mangiocavallo)
Giulio Caccini, “Torna, deh torna...” (1614)
Biagio Marini, Romanesca (1620)
Tarquinio Merula, Canzon detta La Lusignola a 4, La Merula a 4 (1615), Canzonetta spirituale sopra la nanna (1638)
Martino Pesenti, Pass’e mezzo a 3 (1645)*
Bernardo Storace, Partite sopra la Folia (1664)
Franz H. J. Biber, Serenada “Der Nachtwächter”: Ciacona (1673)
Dietrich Buxtehude, Klaglied (1674)*
Henry Purcell, Fantasie upon one note (1680)
Authors and musics of 20th century