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1769-1780, Il Giovane Mozart Tra I Viaggi in Europa E Salisburgo

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1769-1780, Il Giovane Mozart Tra I Viaggi in Europa E Salisburgo Storia della musica moderna e contemporanea Prof. Cesare Fertonani Corso 2009-2010 Always Let Me Go: storia e fenomenologia della musica di Keith Jarrett ELENCO DELLE MUSICHE E DEI VIDEO MODULO B * Keith Jarrett - The Art of Improvisation [84’ + 24’ bonus] DVD Video, Directed and narrated by Mike Dibb EuroArts 2054119 2005 * Miles Electric. A Different Kind of Blue DVD Video, Murray Lerner Producer/Director Eagle Rock EREDV 263, 2003 Track 11 - Call It Anything [38’] Isle of Wight, 29 agosto 1970. Miles Davis, tp Gary Bartz, as, ss Chick Corea, ep Keith Jarrett, org Dave Holland, b Jack DeJohnette, d Airto Moreira, perc Dopo il successo di Bitches Brew (1969), con 500.000 copie vendute e l’album di maggior successo commerciale della storia del jazz (ma si trattava poi in effetti di jazz?) ecco la partecipazione al grande concerto rock e pop dell’isola di Wight. Davanti a 600.000 persone. Eccitazione elettrica. Miles leader nel senso che detta il groove, i tempi, le svolte di un discorso improvvisativo molto fluido e libero in cui tutti sono protagonisti (ma le tastiere suonano sempre con un contributo ritmico). Beat, impulso rock al di sopra del quale si sviluppa l’improvvisazione (quasi free): caleidoscopio di colori e atmosfere con enfasi posta su ritmo e melodia. Interplay basato sull’ascolto e sull’attenzione dell’ascolto degli altri che si trasforma in suono (intuizione, anticipazione, sollecitazione, imitazione e ripresa di gesti, motivi, figure eccetera), cooperazione improvvisativa guidata ma non controllata da Miles che non voleva che i musicisti della band sapessero prima o pensassero a ciò che avrebbero suonato dopo. Inoltre, comunicazione verbale tra Miles e i musicisti ridotta al minimo, spesso a brevi indicazioni allusive. Comunque, a ogni intervento, a ogni entrata di Miles succede qualcosa. L’impressione è che i musicisti della band, tutti di formazione e provenienza jazzistica, partecipino affascinati ma anche un poco spaesati all’impresa a causa di Miles e del suo carisma: musicisti jazz che, sperimentando e mettendosi alla prova ma anche snaturandosi, suonano rock o funky (emblematico ed estremo il caso di Jarrett, che detestava già da allora gli strumenti elettrici e suonò l’organo elettrico soltanto per compiacere Miles). Finale simbolico: Miles lascia il palco prima della fine del pezzo lasciando alla band il compito di chiedere, a quel punto la musica va avanti ancora per un po’, ma non si sa dove e la conclusione 1 resta sospesa. Il pezzo finisce perché Miles se n’è andato e la sua musica è già da qualche altra parte. Importanza dell’esperienza per Jarrett: continua tensione innovativa di Miles, libertà nell’organizzazione di grandi arcate musicali sulla base del timing. Il timing costituisce qui infatti il principio primo organizzatore del set e degli eventi sonori che lo sostanziano: alternanza di grooves e sezioni ritmicamente libere, assoli “entrate” e “uscite” degli strumenti 43:20 Groove 1 – Miles 45:51 Bartz (ss), passaggio bebop con i due fiati 47:28 Sezione ritmica senza i fiati – Corea, Jarrett 48:33 Rientra Miles 50:25 Tempo lento, episodio della sezione ritmica 51:53 Groove 2 – Miles 53:50 Break, tempo lento rubato, episodio statico 54:35 Groove 3 – Miles 55:18 Bartz (as) 57:18 Episodio ritmicamente libero 58:18 Groove 4 58:32 Miles 1:00:01 Episodio ritmicamente libero 1:00:38 Groove 5 – Miles. Passaggio di grande tensione ed energia; verso la conclusione Jarrett in evidenza 1:05:07 Attenuarsi della forza del groove e Miles lirico; poi il groove riprende vigore e consistenza 1:06:51 Il groove scompare, tempo lento ed episodio contemplativo 1:08:02 Groove 6 – Miles 1:09:03 Bartz (as), poi sezione ritmica sola con Jarrett in evidenza 1:13:04 Miles 1:16:35 Miles prende la borsa e se ne va. La sezione ritmica resta sola: finale aperto? finale sospeso? * Four Tenors Charles Lloyd Quartet Charles Lloyd (ts), Keith Jarrett (p, d, ss), Ron McClure (b), Jack De Johnette (d) – 1968 (DVD idem 779-2002) Puntata di una serie di trasmissioni televisive. Love Ship [6:39] Tagore/Passing Through [20:14] Forest Flower [1:44] * The Mourning Of A Star New York, luglio-agosto 1971 (Atlantic, 8122-75355-2, 1971) Standing Outside [3:21] 2 Pezzo quasi di fusion, con ritmi latini e accattivante melodia country-pop del tema. Jarrett suona anche le congas. 00:00 Intro, rullo di piatti (d), accompagnamento del tema (p) - 8 battute 00:22 Tema, song: ABAB dove A = 8, B = 4 01:09 Due chorus 02:45 Ripresa del tema A B + Coda a sfumare All I Want [2:20] Cover, per così dire, di Joni Mitchell. Canzone dell’album Blue (1971), che contiene anche A Case of You, e che fu un grande successo anche commerciale. Su YouTube si possono ascoltare un paio di versioni d’annata di Joni Mitchell (1972, 1974). Registro country-pop, Jarrett suona anche il flauto diritto, con echi che ricordano le sonorità del quartetto con Charles Lloyd; Motian suona anche le congas. Ricreazione delle sonorità originaria del song, proposto due volte (verse-refrain) anziché tre come nell’originale. 00:00 Intro 00:13 Song * Facing You Oslo, novembre 1971 (ECM 1017 827 132-2, 1972) In Front [10:05] Trascrizione Esuberante alternanza e successione di sezioni diverse. A ogni volta variato, come refrain di un rondò, che assicura coesione a un brano di fantasia spumeggiante per il numero delle idee e il loro svolgimento in cui si coglie la ricchezza degli echi e la connessione del jazz con altre musiche americane. 00:00 A tema sghembo, varietà metrica, accentuazioni irregolari quasi cubiste nel gioco tra le mani 00:30 B sviluppo melodico, echi country o pop 00:51 A 01:01 C vamp ritmico, funky → impro 01:37 A … 01:47 … e impro 02:31 A 02:41 C → impro estesa sul vamp: momento centrale dal punto di vista propriamente impro (poco meno di 4’), a 03:40 si afferma un accompagnamento ostinato boogie, con echi del pianismo stride 06:11 D episodio melodico 07:01 ripresa del grove fondamentale → impro 07:44 E attenuazione della pulsazione e nuovo episodio melodico, quasi valzer 08:43 A in tempo molto più lento, in addolcita versione melodica (ballad) ed epilogo Lalene [8:29] Trascrizione Ballad, vena lirica quasi pop (se questo termine non implicasse un coefficiente di banalità che qui è del tutto assente). Forma di song variato, in 4/4. Gioco tra sezioni dalla metrica regolare e sezioni metricamente libere. Il tema del song è costituito di 3 parti: A – 16 bb. A’ – 16 bb. B – 4 bb. 3 00:00 Tema: A di 16 bb. 00:59 Tema: A’ di 16 bb. 01:57 Tema: B di 4 bb. quasi ritornello (chitarra) se non fosse che non ricompare più e ritransizione da A 02:18 A var, dopo 9 bb. si rompe la regolare scansione metrica 03:10 A var, dopo 4 bb. si rompe la regolare scansione metrica 03:46 A var, regolare scansione metrica 04:44 impro inizialmente chorus, poi libera che sospende il grove iniziale: momento centrale dal punto di vista propriamente impro 06:12 A var → impro 07:15 A var, tempo più lento e libertà metrica 07:59 epilogo Starbright [5:01] Trascrizione Serie di chorus a partire da un tema che è occasione per una carrellata sugli stili pianistici della storia del jazz. Virtuosismo estremo, cultura storica concentrata nei 5’ (in certo senso quasi un’anticipazione ideale di Tribute…) di un pezzo che ha la struttura formale più semplice che possa darsi e che conserva la struttura metrica del tema (sempre percepibile agli accordi della mano sinistra). La regolarità dell’articolazione interna si coglie facilmente dal minutaggio (a ogni chorus corrispondono 30’’ circa). Allusioni a blues, Art Tatum, Bud Powell sino a citazioni stride e ragtime. Tema di 8 bb., con accento sui nuclei di 2 bb.: 2 + 2 + 2 + 2. 00:00 Tema 00:30 Ch 1, blues mano ds 01:00 Ch 2 01:32 Ch 3 02:03 Ch 4 02: 35 Ch 5 03: 06 Ch 6 03:20 a metà del Ch 6 iniziano velocissimi passaggi virtuosistici che proseguono nel Ch 7 03:37 Ch 7 04:08 Ch 8 ridotto a metà chorus 04:23 Tema * The Köln Concert Trascrizione La data di un mito, 24 gennaio 1975 (2 cd ECM 1064/65 810 067-2, 1975). La storia del concerto e della registrazione: Carr, pp. 90-93. Le condizioni psicofisiche di Jarrett, la modestia dello strumento e la necessità di restare entro i limiti ristretti di uno strumento mediocre. Rapporto difficile di Jarrett con questa registrazione che pure gli ha dato celebrità planetaria (e ricchezza). Il concerto è diviso in due parti: la prima (I) coincide con un’arcata unica (26:02); la seconda è articolata in due pannelli (IIa e IIb) ed è leggermente più lunga rispetto alla prima (14:54 + 18:13). Alla seconda parte segue un’appendice come bis (IIc) (6:59). In totale 66:10. Grandi arcate, grande forma basata sulla successione di pannelli, connotati in relazione alla configurazione e alla tessitura compositiva che coincidono con delle idee o in cui accadono degli ‘eventi’ (propriamente tematici, armonici, timbrici). Processo improvvisativo sottratto ai vincoli armonici, melodici e ritmici di un materiale pre-composto (dunque molto diverso rispetto a quello basato su forme modulari di 12/32 battute) e che ha dunque la possibilità di svolgersi liberamente 4 (decisiva al riguardo l’esperienza del free) proponendo, modificando, aggregando, estendendo o sviluppando in vario modo le idee. Ancoraggio ad aree tonali o modali (nell’ordine delle grandi arcate oppure delle sezioni più brevi), e linguaggio tendenzialmente consonante e diatonico che – a differenza di altri concerti di piano solo di Jarrett – costituisce una delle cifre distintive del Concerto e ne ha contribuito al successo, insieme con gli aspetti mutiformi tipici del pianismo di Jarrett: qui moduli di ostinato, che possono essere anche la risultante della stratificazione orizzontale di molteplici figure ritmiche (3 diverse oltre alla linea melodica per esempio in Groove 4 della Parte I), come fondamento per l’improvvisazione e di cadenze plagali che mettono in luce i rapporti con il jazz-rock; filatura di lunghe e fluide linee melodiche in valori ritmici molto fitti alla mano destra su lunghe note tenute, corde di recita della mano sinistra; strutture melodiche e armoniche improntate all’innodia protestante; tratti della canzone popular e della musica country & western.
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