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Avvertenze Relative Alla Redazione Della Tesi Di Sede Amministrativa: Università degli Studi di Padova Dipartimento di Storia delle arti visive e della musica SCUOLA DI DOTTORATO DI RICERCA IN: Storia e Critica dei Beni Artistici, Musicali e dello Spettacolo. A.A. 2007/2008 – 2009/2010 INDIRIZZO: Storia e Critica del Cinema CICLO XXIII Accanto allo schermo Il repertorio musicale de Le Giornate del Cinema Muto Direttore della Scuola : Ch.ma Prof.ssa Vittoria Romani Supervisore :Ch.mo Prof. Alberto Zotti Minici Dottorando: Marco Bellano 2 Accanto allo schermo Il repertorio musicale de Le Giornate del Cinema Muto Introduzione – Preservare la musica per il cinema muto………………… 15 Le fonti d’epoca……………………………………………………………..… 20 Un problema di metodo……………………………………………………… 25 Le fonti contemporanee……………………………………………………… 30 Vantaggi……………………………………………………………………….. 38 Una possibilità……………………………………………………………….... 40 PARTE PRIMA Prassi ed estetica della musica per il cinema muto 1. Proposte storiografiche………………………………………………. 49 1.1. Origini………………………………………………………….….. 62 1.2. Meccanismi……………………………………………………..… 77 1.2.1. Messaggi per Marte……………………….……………… 87 1.3. Attrazioni……………………………………………………..….. 102 1.4. Compilazioni…………………………………………………..… 110 1.5. Composizioni……………………………………………………. 116 2. Estetica……………………………………………………………….. 135 2.1. Principali contributi teorici……………………………………… 135 2.2. La drammaturgia musicale del muto…………………….…… 172 2.2.1. Sintesi delle funzioni drammaturgiche nella musica per film………………………………………………………... 178 2.2.2. Modelli drammaturgici specifici…………………….….. 191 2.2.2.1. Funzione “ponte”………………………….…. 197 2.2.2.2. Funzione metadiegetica (di metalivello)…... 202 2.2.2.3. Silenzio………………………………….……. 209 3 PARTE SECONDA Il repertorio musicale de Le Giornate del Cinema Muto Premessa al repertorio……………………………………………..………. 215 1982…………………………………………………………………………... 221 1983……………………………………………………………………...…… 221 1984………………………………………………………………...………… 223 1. Nosferatu (Murnau, 1922). Ricostruzione dell’illustrazione originale di Hans Erdmann ad opera di Berndt Heller……………………... 223 1985…………………………………………………………………...……… 233 2. Consuelita (Roberti, 1925). Musica di Ennio Morricone….…….. 233 3. The Docks of New York (Von Sternberg, 1929). Ricostruzione del cue sheet originale ad opera di Berndt Heller……...……………. 233 4. Der Letzte Mann (Murnau, 1924). Ricostruzione dell’illustrazione originale di Giuseppe Becce ad opera di Berndt Heller……...…. 234 5. La Nave (D’Annunzio, 1921). Musica di Ildebrando Pizzetti (riduzione pianistica)................................................................... 238 1986…………………………………………………………………...……… 239 6. An Unseen Enemy (Griffith, 1912). Musica di Carl Davis………. 239 7. The Wind (Sjöström, 1928). Musica di Carl Davis……………..… 240 1987……………………………………………………………………...…… 245 8. Gloria Transita (Gildermejer, 1917). Musica di Hub Mathijsen… 245 9. The Big Parade (Vidor, 1925). Musica di Carl Davis……………. 246 4 1988…………………………………………………………………...……… 251 10. A Girl’s Folly (Tourneur, 1917). Musica di Adrian Johnston……………………………………………………..………. 251 11. Salomè (Falena, 1910). Ricostruzione della compilazione musicale originale ad opera di Ennio Simeon………………………………. 252 12. Tabu (Murnau, 1931). Musica di Violeta Dinescu……….……..... 253 13. Traffic in Souls (Loane Tucker, 1913). Musica di Adrian Johnston……………………………………………………………… 254 14. Way Down East (Griffith, 1920). Ricostruzione dell’illustrazione originale di William Frederick Peters e Louis Silver ad opera di Gillian B. Anderson……………………………...………………...... 255 15. When the Clouds Roll By (Fleming, 1918). Musica di Richard McLaughlin………………………………………………………...… 259 1989………………………………………………………………………...… 261 16. Regeneration (Walsh, 1915). Musica di Adrian Johnston…....… 261 17. City Lights (Chaplin, 1931). Presentazione della musica originale di Chaplin ad opera di Carl Davis……………………………………. 262 1990………………………………………………………………………...… 267 18. Intolerance (Griffith, 1916). Ricostruzione della musica originale ad opera di Gillian B. Anderson……………….………………………. 267 19. Hands Up! (Badger, 1926). Musica di Adrian Johnston……….... 270 20. Lucky Star (Borzage, 1929). Musica di Adrian Johnston……….. 272 21. Thaïs (Bragaglia, 1916). Musica di Paolo Furlani…………….…. 273 22. Wenn Vier Dasselbe Tun (Lubitsch, 1916). Compilazione di Carlo Moser a partire da canzoni tradizionali…..………………………. 274 5 1991………………………………………………………………………..…. 275 23. Carmen (DeMille, 1915). Ricostruzione della compilazione originale ad opera di Gillian B. Anderson………………………………….... 275 24. The Cheat (DeMille, 1915). Musica di Adrian Johnston…….….. 277 25. Meet me Down at Luna, Lena (Lubin, 1905). Musica del Silent Film Festival Trio……………………………………………………….…. 279 26. Miss Lulu Bett (W. DeMille, 1921). Musica di Andrea Piazza….. 280 27. The Strong Man (Capra, 1926). Musica di Carl Davis………….. 281 . 1992…………………………………………………………………………... 285 28. 7th Heaven (Borzage, 1927). Musica di Paul Robinson………... 285 29. Cenere (Mari, 1916). Musica di Bruno Moretti…………………… 288 30. Gardiens de phare (Grémillon, 1929). Musica di Richard McLaughlin………………………………………………………..…. 289 31. The River (Borzage, 1928). Musica di Richard McLaughlin……. 291 1993………………………………………………………………………..…. 293 32. Broken Blossoms (Griffith, 1919). Musica di Carl Davis……....... 293 33. La femme de nulle part (Delluc, 1922). Musica di Wim Mertens. 294 34. The Land Beyond the Sunset (Shaw, 1912). Musica di Wim Mertens……………………………………………………………..... 295 35. Monte-Cristo (Fescourt, 1929). Musica di Jan Klusák………..… 297 36. Programma Treasured Images of Light from Aotearoa (New Zealand). Musica di Dorothy Buchanan........................………... 299 1994…………………………………………………………………………... 301 37. Lonesome (Fejós, 1928). Musica della Alloy Orchestra………... 301 38. Programma Dhundiraj Govind Phalke. Arrangiamenti di musiche tradizionali indiane a cura di Kshama Narayan Vaidya et al..….. 303 6 39. The Unknown (Browning, 1927). Musica di John Cale……….… 304 1995………………………………………………………………………...… 307 40. Celovek S Kinoapparatom (Vertov, 1929). Musica della Alloy Orchestra sulla base delle indicazioni originali di Vertov……… 307 41. Als Ich Tot War (Lubitsch, 1916). Musica di Urban Koder……... 309 42. The Gold Rush (Chaplin, 1924). Musica di Charlie Chaplin arrangiata da Carl Davis……………………………………………. 311 1996……………………………………………………………………….…. 317 43. Peter Pan (Brenon, 1924). Musica di Philip Carli……………...… 317 44. Beau Geste (Brenon, 1926). Musica di Bruno Cesselli……….... 318 1997……………………………………………………………………….….. 323 45. The Birth of a Nation (Griffith, 1915). Musica di John Lanchbery adattata dalla partitura originale di Joseph Carl Breil…………… 323 1998………………………………………………………………………...… 327 46. Stachka (Eisenstein, 1925). Musica della Alloy Orchestra…...… 327 47. The Iron Horse (Ford, 1924). Musica di John Lanchbery………. 329 1999…………………………………………………………………………... 333 48. Juha (Kaurismîki, 1999). Musica di Anssi Tikanmîki……………. 333 49. The Kid Brother (Wilde, 1927). Musica di Carl Davis…………… 336 2000………………………………………………………………...………… 339 50. Speedy (Wilde, 1928). Musica di Carl Davis………………..…… 339 7 2001………………………….……………………………………………….. 343 51. Finis Terrae (Epstein, 1929). Musica di Kristen Noguès……….. 343 52. Was ist los im Zirkus Beely? (Piel, 1926). Musica di Nicola Perricone…………………………………………………………….. 345 53. Orochi (Futagawa, 1925). Musica di Coloured Monotone…….... 347 54. East Side, West Side (Dwan, 1927). Musica di Donald Sosin…. 351 55. Kurutta Ippeiji (Kinugasa, 1926). Musica di Teho Teardo…...…. 353 2002……………………………………………………………..……………. 357 2003…………………………………………………………………………... 359 56. Visages d’enfants (Feyder, 1925). Musica di Antonio Coppola... 359 57. Chang (Schoedsack, 1927). Ricostruzione del cue sheet originale ad opera di Philip Carli…………………………………………..…. 362 58. Redskin (Schertzinger, 1929). Musiche di National Braid…….... 364 59. Napoli che canta (Roberti, 1926). Arrangiamento di musiche tradizionali a cura di Michele Fedrigotti…………………………... 367 2004……………………………………………………………….………….. 369 60. The General (Keaton/Bruckman, 1927). Musica della Alloy Orchestra…………………………………………………………..… 369 61. Vorrei morir/Fluch dem Schicksal/Destin Maudit (Lajthay, 1918). Arrangiamenti di musica preesistente ad opera di Mauro Colombis. ……………………………………………………………………..…. 372 62. Tillie’s Punctured Romance (Sennett, 1914). Musica di Tillie’s Nightmare……………………………………………………………. 373 63. Vesnoi (Kaufman, 1929). Musica di Ulrich Kodjo Wendt e Anne Wiemann……………………………………………………….……. 376 64. The Cat and the Canary (Leni, 1927). Musica di Neil Brand..… 378 8 2005……………………………………………………………………..……. 381 65. Au bonheur des dames (Duvivier, 1930). Musica di Gabriel Thibaudeau… ………………………………………………………381 66. Crainquebille (Feyder, 1923). Musica di Antonio Coppola…...… 383 67. Liberty (McCarey, 1929). Musica di Maud Nelissen…………..… 385 68. Un locataire diabolique (Méliès, 1909). Musica di Maud Nelissen……………………………………………………………… 386 69. Onésime et le coeur du tzigane (Durand, 1913). Musica di Maud Nelissen…………………………………………………………..….. 387 70. You’re Darn Tootin’ (Kennedy, 1928). Musica di Neil Brand & Sprockets………………………………………………………..…… 388 71. Manhattan Madness (Griffith, 1916). Musica di John M. Davis... 389 72. Zanjin Zanbaken (Ito, 1929). Musica di Kensaku Tanikawa...…. 392 73. Yogoto no Yume (Naruse, 1933). Musica di Kensaku Tanikawa…………………………………………………………….. 393 74. Tokkyu Sanbyaku Mairu (Saegusa, 1928). Musica di Günter A. Buchwald………………………………………………………..…… 394 75. The Sentimental Bloke (Langford, 1919). Musica di Jen Anderson…………………………………………………………….. 395 76. The Scarlet Letter (Seastrom, 1926). Musica di Donald Sosin… 396 77.
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