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Critica Della Musica Per Film Un Film, Un Regista, Un Compositore QUADERNI DI MUSICA PER FILM 2

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Critica Della Musica Per Film Un Film, Un Regista, Un Compositore QUADERNI DI MUSICA PER FILM 2 QUADERNI DI MUSICA PER FILM 2 Critica della musica per film Un film, un regista, un compositore QUADERNI DI MUSICA PER FILM 2 Critica della musica per film Un film, un regista, un compositore QUADERNI DI MUSICA PER FILM Comitato editoriale Roberto Calabretto Direttore Critica della musica per film Sergio Bassetti Un film, un regista, un compositore Laurent Feneyrou Antonio Ferrara Daniele Furlati a cura di Roberto Calabretto Riccardo Giagni Roberta Novielli Cosetta Saba Federico Savina Edizioni Fondazione Levi Venezia 2021 FONDAZIONE UGO E OLGA LEVI Critica della musica per film PER GLI STUDI MUSICALI ONLUS Un film, un regista, un compositore Consiglio di Amministrazione Redazione e coordinamento editoriale VII Presentazione Davide Croff Presidente Claudia Canella Davide Croff Luigi Brugnaro Paolo Costa Progetto grafico e impaginazione Fortunato Ortombina Karin Pulejo IX Introduzione Giovanni Giol Roberto Calabretto Nicola Greco Vicepresidente Composizione esempi musicali Giancarlo Tomasin Gino Del Col 3 The score forWay Down East: a harbinger of the future Revisori dei Conti Traduzioni Raffaello Martelli Presidente Matilda Colarossi Gillian B. Anderson Chiara Boldrin Maurizio Messina In copertina 25 Appendix 1. Pesce versus Silvers/Peters as composer of Way Down East [Stock Photo] Photograph of Mr D. W. Griffith Comitato scientifico 81 Appendix 2. Chronologically Arranged Newspaper Notices (1875-1948) filming Way Down East (1920) Roberto Calabretto Presidente starring Lillian Gish (1893-1993). for Way Down East (Parker/Grismer, 1897) and Way Down East (Griffith, 1920) Sandro Cappelletto Whilst filming this scene Gish’s hand Dinko Fabris 181 Appendix 3. Way Down East in Great Britain Laurent Feneyrou and her hair froze Cormac Newark Image Code IAM-WHA-052-0759 Paolo Troncon Photographer: World History Archive / Marco Tutino Ann Ronan Collection 213 La musica di Bach nel cinema di Pier Paolo Pasolini. Paula Varanda Echi nella critica coeva Vasco Zara Roberto Calabretto Direttore e direttore della Biblioteca La proprietà delle immagini appartiene Giorgio Busetto alle istituzioni culturali proprietarie delle opere, che sono coperte da copyright. 311 Nino Rota e la critica musicale Staff È vietata la riproduzione anche parziale Ilaria Campanella Armando Ianniello Claudia Canella Alessandro Marinello Fabio Naccari 431 Indice dei nomi Anna Rosa Scarpa Collaboratori Margherita Olivieri © 2021 by FONDAZIONE LEVI Camilla Zennaro S. Marco 2893, Venezia Tutti i diritti riservati per tutti i paesi Archivio Giovanni Morelli Paola Cossu edizione on-line Laura Desideri https://www.fondazionelevi.it/editoria/critica-della- Francesco Verona musica-per-film-un-film-un-regista-un-compositore/ Valeria Zane Angelina Zhivova ISBN 978 88 7552 070 0 Davide Croff Presentazione Questo secondo quaderno della collana dedicata alla musica per film e testé inaugurata bene indica il percorso che si sta prendendo in quest’ambito. Sono ormai dieci anni che la Fondazione Levi, col decisivo contributo di Roberto Calabretto, dedica alcune delle sue attività a questa specifica disciplina, segmento specialistico della musicologia che sempre più trova adepti e offre risultati a volte sorprendenti, suggerendo con determinazione come critica e storia della musica dalla nascita del cinema non possono prescindere da questo fondamentale eppure trascurato capitolo. Ancora una volta la Fondazione Levi ha intercettato una esigenza importante prima che diventasse di moda ed è venuta proponendo metodi e mezzi ad una comunità scientifica dapprima pio- nieristica, poi sempre più avvertita, ma ancora raramente accolta con pienezza di senso in ambito accademico. Per naturale evoluzione del crescere e sedimentarsi del lavoro di ricerca ha finito per prendere il via la collana, mentre si pensa ad allestire un periodico, che verrebbe a colmare una lacuna nell’ambito delle pubblicazioni scientifiche italiane. Frattanto la Biblioteca si sta via via arricchendo di archivi di compo- sitori che hanno dedicato al cinema tutte o parte delle loro fatiche, e di archivi di musicologi che che hanno dedicato i loro studi al fenomeno. L’acquisizione di ulteriori archivi di compositori e ricercatori metterà a disposizione degli studiosi materiali di primaria importanza. Un fondamentale strumento che sta progressivamente implementandosi è rap- presentato dal database LEVIdata, su cui stanno confluendo dati accumulati dai gruppi di ricerca attivi presso la Fondazione e attenzioni di operatori diversi che non hanno trovato altrove la necessaria comprensione, primo fra tutti il progetto piemontese Cabiria, che la Levi sta mantenendo in vita. Anche qui il lavoro produce lavoro, sicché si sta valutando anche la creazione di una specifica piattaforma aperta ai contenuti più diversi, utile a valorizzare anche la storia degli studi condotti in Levi, a mantenerne le tradizioni di impegno nel campo della bibliografia musicale e a richiamare apporto di altri soggetti creativi e attivi nell’ambito qui coltivato. VII CRITICA DELLA MUSICA PER FILM. UN FILM, UN REGISTA, UN COMPOSITORE Dunque sta ormai prendendo corpo il formarsi in Fondazione di un centro Roberto Calabretto internazionale di ricerca sulla musica per film, sicché occorrerà ora uno sforzo di razionalizzazione, per disegnarne un progetto di sviluppo che tracci anche le Introduzione linee della sua conduzione e della sua sostenibilità. Nel volume che qui si presenta tornano autori e soggetti già comparsi nel decennio di attività di cui si è detto, a riprova dell’importanza di mettere in essere una molteplicità di strumenti che tutti fra loro si tengano, concorrendo a definire l’identità della Fondazione come sempre aggiornata al procedere della vita musicale, ridando spazio alle voci di compositori contemporanei, proprio Il secondo numero della collana Quaderni di musica per film raccoglie il primo nello spirito e nelle pratiche quotidiane dei Fondatori. risultato del lavoro che il gruppo di ricerca attivo all’interno della Fondazione Levi sta svolgendo da alcuni anni sulla critica musicale cinematografica. Il gene- rale processo di rivalutazione della musica per film degli ultimi decenni, che ha posto all’attenzione di molti studiosi un àmbito della produzione pressoché ignorato, ha comportato ora una seria e attenta riflessione sulla critica che l’ha accompagnata sin dalle sue origini. La circostanza che le sue fonti non siano ancora state sistematicamente individuate ha privato infatti gli studi e studiosi del settore di informazioni fondamentali. Nel corso degli anni, il gruppo di ricerca della Levi ha così preso in esame moltissime recensioni e articoli che hanno affollato le riviste musicologiche e cinematografiche, periodici e quoti- diani, indagando i loro complessi legami con la vita di un film e con i fenomeni artistici e culturali coevi. Questo quaderno consegna i primi risultati della ricerca offrendo un’indagine, molto complessa e articolata, attorno a tre casi di studio: la critica della musica di un film comeWay Down East di David W. Griffith del 1920, la poetica musi- cale del regista Pier Paolo Pasolini con i componimenti di Johann Sebastian Bach e infine Nino Rota nel ruolo di compositore cinematografico. I saggi si ser- vono di una documentazione accuratissima che affianca le analisi e la riflessione tout court nelle argomentazioni prese in esame, mettendo in mostra un numero considerevole di recensioni, interviste e critiche adeguatamente contestualiz- zate e commentate. La loro lettura permette così di cogliere la maniera con cui un film americano è stato accolto nelle sale cinematografiche, oppure di vedere i veri e propri attacchi scagliati dalle riviste contro Pasolini a causa delle scelte bachiane adottate nei suoi primi film e infine di constatare come la musica di Rota sia stata sottoposta ai giudizi dalla critica. Gli autori di questo quaderno appartengono al gruppo di ricerca e sono affiancati da una graditissima ospite e amica, Gillian Anderson, che ha partecipato ai primissimi convegni e seminari organizzati dalla Fondazione Levi e dedicati alla musica per film. VIII IX Critica della musica per film Un film, un regista, un compositore X 1 Gillian B. Anderson The score forWay Down East: a harbinger of the future Abstract This article is based on an examination of over 4000 newspaper and magazine accounts1 in America and England from 1897 to 1922, on a copyright deposit of the score at the Library of Congress and the score and orchestral parts for the film (figure 1), Way Down East (David Wark Griffith, 1920), at the Museum of Modern Art (MOMA) [Anderson 1988].2 Like the play upon which it was based (by Lottie Blair Parker adapted by Joseph R. Grismer), Griffith’s Way Down East was enormously successful and contemporary accounts gave its music partial credit. Its score by Louis Silvers and William Frederick Peters consisted of both original and preex- isting selections. Peters wrote most of the original music and almost all of the main themes. Although credited as the lead composer, Silvers only wrote the opening theme. Conductor/ music director Albert Pesce together with D. W. Griffith may have selected the preexisting music (although on the title page of the score the composers took the credit for the choice). Because the composers were responding to Griffith’s often changing scenic construction, their score anticipated the close synchronization and short musical cells of today. It is hypothesized that elements from the publicity and criticism of Way Down East, the play, established conventions that affected
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