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Il Duca Al Conservatorio Omaggio a Duke Ellington Nel Centenario Della Nascita

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Il Duca Al Conservatorio Omaggio a Duke Ellington Nel Centenario Della Nascita Trimestrale dell’Istituto Gramsci Marche N. 29/32 Il Duca al Conservatorio Omaggio a Duke Ellington nel Centenario della nascita a cura di Rodolfo Dini e Massimo Mazzoni 1 Trimestrale dell'Istituto Gramsci Marche Direttore: Rodolfo Dini Redazione: Valerio Calzolaio, Patrizia Caporossi, Carlo Carboni, Patrizia David, Gabriele Ghiandoni, Massimo Paci, Massimo Papini, Bruna Stefanini Direttore responsabile: Stelvio Antonini Redazione e amministrazione: via Cialdini, 41 60122 Ancona tel.071/2073661 Progetto grafico: Andrea Gentili Studio Asa - Fermo, Stampa : Litografica COM - Capodarco di Fermo (AP) Un numero £ 10.000 Abbonamento annuo £ 30.000 Abbonamento sostenitore £ 100.000 I versamenti possono essere effettuati su c/c postale n. 14077606 intestato a Istituto Gramsci Marche E-mail: [email protected] Periodico registrato al Tribunale di Ancona n. 1 - 21/1/1992 Ristampa, maggio 2000 2 Sommario 5 Presentazione 9 Vita di Duke Ellington I. Prologo, 9; II. Soda Fountain Rag, 12; III. Black and Tan Fantasy, 18; IV. Reminiscing in Tempo, 27; V. Black, Brown and Beige, 33; VI. Diminuendo in Blue and Crescendo in Blue, 40; VII. Sacred Concerts, 46 55 IL DUCA AL CONSERVATORIO 57 Rodolfo Dini e Massimo Mazzoni, Il Duca al Conservatorio 61 Riccardo Scivales, Ellington pianista: dal ragtime all’astrazione Apprendistato a Washington, 61; La mai dimenticata lezione dello stride piano, 65; Un pianista stride e la sua band, 68; Gli assoli del 1928, 69; Verso la “divina semplicità e l’arte del sottinteso”, 70; Il pianoforte come orchestra, 73; Registri espressivi, evoluzione e flessibilità del pianismo di Ellington, 73 79 Stefano Zenni, Il colore strumentale in Ellington: un’introduzione 91 Marcello Piras, Ellington narratore di storie: la Liberian suite I Like the Sunrise, 100; Dance No. 1, 102; Dance No. 2, 105; Dance No. 3, 109; Dance No. 4, 112; Dance No. 5, 114 119 INSERTO FOTOGRAFICO E APPARATI 121 Lessico Africa, 121; Autobiografia, 122; Carnegie Hall, 124; Cinema, 126; Colore/timbro, 130; Composizione/improvvisazione, 131; Cotton Club, 133; Disco, 134; Effetto Ellington, 136; Fiume, 137; Friends, 138; Giungla, 140; Harlem, 141; Harlem Renaissance, 144; Kentucky Club, 146; Ladies, 147; Oralità/scrittura, 149; Questione razziale, 151; Radio, 153; Sacro, 154; Showman, 156; Treno, 157; Vocalità, 158; Washington, 160 3 163 Repertorio Repertorio 1 / Il periodo di Black and Tan Fantasy, 163; Repertorio 2 / Il periodo di Reminiscing in Tempo, 166; Repertorio 3 / Il periodo di Black, Brown and Beige, 173; Repertorio 4 / Pezzi brevi del secondo dopoguerra, 177; Le Suites, 180; Le Suites della Carnegie Hall: Black, Brown and Beige, 182; New World a Comin’, 184; Perfume Suite, 184; A Tonal Group, 185; Liberian Suite, 187; The Tattooed Bride, 187; Altre suites in ordine cronologico: Harlem, 188; Night Creature, 189; Such Sweet Thunder, 190; The Queen’s Suite, 192; Suite Thursday, 192; Far East Suite, 193; Latin American Suite, 195; New Orleans Suite, 196; Afro-Eurasian Eclipse, 198; Togo Brava Suite, 199; Suites legate a spettacoli e “concept album”: A Drum Is a Woman, 200; Anatomy of a Murder, 202; Afro Bossa, 203; My People, 204; ...and His Mother Called Him Bill, 206; The River, 207; Sacred Concerts, 208 211 I musicisti 225 Glossario 241 Per saperne di più 245 Indice analitico e dei nomi 259 Notizie sugli autori Ringraziamenti a Donato Caporalini, Mariella Luciani, Marcello Piras, Riccardo Scivales, Ilenia Tognazza, Stefano Zenni, che in vario modo hanno contribuito alla realizzazione del quaderno. 4 Presentazione Questo quaderno nasce da una riuscita iniziativa promossa dal nostro Istituto per il centesimo anniversario della nascita di Duke Ellington, realizzata in collaborazione con il Conservatorio “G. B. Pergolesi” di Fermo, l’Associazione “Sisma” (Società Italiana per lo Sviluppo della Musica Afroamericana) e la rassegna “Metastasio Jazz” della Fondazio- ne Teatro Metastasio di Prato. I testi delle conferenze, rivisti dagli autori e corredati da un’introduzione, un inserto fotografico e un glossario, sono già stati pubblicati in una edizione speciale indirizzata in particolare ai soci Sisma. Del presente quaderno costituiscono ora la parte centrale: sicuramente la più significativa e originale, un contributo qualificato nel panorama della pubblicistica nazionale sul grande musicista nero ameri- cano. Proprio al fine di favorirne la lettura, abbiamo ritenuto utile corredarla con materiali informativi, sia riguardo agli aspetti biografici che a quelli estetico-musicali, utilizzando allo scopo analisi, testimonianze, documentazioni attualmente disponibili. Si tratta di un supplemento di informazione che, è bene premetterlo subito, non ha alcuna pretesa di originalità. Nella migliore delle ipotesi, traccia una modalità interessante di organizzazione del materiale che potremmo definire, per riprendere termini oggi molto di moda, intertestuale ed ipertestuale. Intertestuale, nell’accezione più ovvia che sta ad indicare la presenza di “più testi” all’interno dello stesso contenitore; ipertestuale, per le connessioni che si attuano tra le varie parti, sia pure nei limiti di un supporto cartaceo. Abbiamo così, all’inizio, un testo che descrive sinteticamente e distesamente vita ed opere di Duke Ellington e rimanda ad altre parti del 5 Presentazione quaderno per chiarimenti ed approfondimenti. Questa ampia appendice documentaria (Apparati) è stata suddivisa in quattro distinti capitoli: Lessico, con luoghi, metafore, media, parole chiave relative alla persona- lità e all’estetica ellingtoniana; Repertorio, dove sono commentati i “titoli” che si incontrano nella biografia e nel lessico; I musicisti, con i dati essenziali riferiti ai soli componenti l’orchestra di Ellington; Glossario dei termini tecnici, musicali e gergali, inevitabilmente disseminati in tutto il testo. Va aggiunto che questo “gioco” di rimandi e connessioni, strada facendo, ci ha preso un po’ la mano, complice la straripante, immagini- fica, affascinante personalità del Duca, con il conseguente ritardo di... un millennio nell’uscita del quaderno. Si è così accumulata una mole considerevole di informazioni, sebbene distante dall’esaurire, sia in termini quantitativi che di approfondimento culturale, il vasto mondo di Ellingtonia, un vero continente per tanti versi ancora da esplorare. Tuttavia, non necessitando di una lettura sequenziale, il quaderno rende possibile percorsi sempre diversi e, ci auguriamo, stimolanti. Gli esperti potranno iniziare dai tre saggi di Scivales, Zenni e Piras e poi passare al resto per rinfrescarsi la memoria. Chi, invece, ricorda solo vagamente che il Duca era uno stravagante showman che salutava le folle con un iperbolico “Vi amo follemente”, può farsene un’idea partendo dalla biografia, per poi avventurarsi su altri itinerari. Ad esempio, il paragrafo Black and Tan Fantasy della Vita di Duke Ellington rinvia immediata- mente ad Harlem ed alla sua Renaissance, con visita obbligatoria al Cotton Club, cioè al cuore della giungla e dunque all’Africa da dove è partita la tratta degli schiavi verso il nuovo mondo: una storia narrata nella Liberian Suite ma anche in altre opere rintracciabili nel repertorio. E si potrebbe continuare. Il lessico, ad esempio, si presta a letture per argomenti e parole affini1. 1 I luoghi: Washington – Harlem – Kentucky Club – Cotton Club – Carnegie Hall; Le metafore: Africa – Fiume – Giungla – Treno; Personalità e idelogia del Duca: Autobio- grafia – Ladies – Friends – Harlem Renaissance – Questione razziale – Showman; Media: Cinema – Disco – Radio; Estetica musicale: Oralità/scrittura – Composizione/improvvi- sazione – Colore/timbro – Effetto Ellington – Vocalità. 6 Presentazione Un ampio indice analitico e dei nomi facilita la ricerca, evitandoci di infarcire il testo di neretti e sottolineature, in particolare per i musicisti dell’orchestra e per i brani musicali che sono tutti, variamente, commen- tati. Abbiamo, invece, indicato in neretto le parole chiave nei punti della biografia (del lessico e del repertorio) dove si reputava opportuna una contestualizzazione. Infine, per non eccedere in note, autore ed anno della pubblicazione a cui si fa riferimento sono tra parentesi al termine della citazione2. Quelle di Duke Ellington, quando non specificate, si intendo- no provenienti dall’autobiografia. Buona navigazione. r. d. e m.m. 2 Principali testi utilizzati per la biografia: Arrigo Polillo, Jazz. La vicenda e i protagonisti della musica afro-americana, Milano 1975; Antonio Berini/Giovanni Volontè, Duke Ellington. Un genio, un mito, Firenze 1994. Principali testi utilizzati anche per le altre parti del quaderno: Gunther Schuller, Il Jazz. Il periodo classico. Gli anni Venti. Bix, Bessie Smith, Henderson, Ellington, Torino 1966; Il Jazz. L’era dello Swing. I grandi maestri. Goodman, Ellington, Armstrong, Torino 1999; Luigi Onori, Jazz e Africa. Griot, musicisti e fabulatori, Nettuno 1996; Jaromir Navràtil, Duke Ellington, un’introduzione, “Blue Jazz” Roma 1991; Stefano Zenni, Dalle Suites ai Concerti sacri. Il vasto respiro delle opere maggiori, “Musica Jazz” Milano 1994; AA. VV., I mondi di Ellington, “Musica Jazz” Milano 1999. 7 8 Vita di Duke Ellington I. Prologo “Tanto tempo fa una bella ragazza e un bel giovanotto si innamoraro- no e si sposarono. Erano una coppia meravigliosa e affiatata e Dio benedisse il loro matrimonio con un bel maschietto di quattro chili”. (➞Autobiografia) Edward Kennedy, lo chiamarono così, venne alla luce il 29 aprile 1899 in Ward Place a Washington, nella casa della nonna materna.
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