Massimo Mila, la musica e la Resistenza (original) (raw)
2019, Musica/Realtà
The paper contextualises Mila's thinking in the context of the rhetoric of the Resistance which for ideological reasons was affirmed in Italy between the Sixties and the Seventies. The argument takes place against the background of three relevant themes of the Italian musical debate of the time: the commitment of intellectuals, the relationship between music and society, the reception of Adorno's thought. The essay introduces the republishing, in the same issue of the review, of the article by Mila Capolavori per la Resistenza, published in the 1965 Espresso.
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Le matrici intellettuali di Massimo Mila
Musica/Realtà, 2019
Through the analysis of the correspondence belonging to the Massimo Mila Collection preserved in the Paul Sacher Stiftung in Basel - in particular a selection of letters from the period 1928-1950 the essay focuses on the environments, contexts and friendship and professional relationships through which formed the intellectual matrices of Mila. There are many unpublished passages cited, from letters from authors both in the musical and political history (for example: by Norberto Bobbio, Fedele d’Amico, Cesare Pavese, Ernesto Rossi, among others, and also by Mila himself). The essay is accompanied by a synoptic table of the periodic collaborations of the author.
Il contributo italiano alla storia del pensiero, vol. 6: Musica, a. c. di Sandro Cappelletto, Roma, Istituto dell'Enciclopedia Italiana, 2018
Il mito di Michelangelo nel teatro musicale del Risorgimento
Prima e dopo Cavour La musica tra Stato Sabaudo e Italia Unita (1848-1870) Atti del Convegno Internazionale Napoli, 11-12 novembre 2011 a cura di Enrico Careri ed Enrica Donisi, 2015
Ad ogni svolta epocale della Storia è risultato imprescindibile affidarsi alla rievocazione di un «gigante moderno» qual è Michelangelo Buonarroti, artista sommo ed eroe di libertà che in età risorgimentale ha trovato una sua peculiare collocazione anche nell’accesa dialettica politica. Il mitologema elaborato nell’Ottocento intorno a questo «divino» artista del Rinascimento rinvigorì l’italico genio universale sia sul piano del mito sia su quello della filologia e ne incrementò la relativa bibliografia in misura già monumentale. Il teatro musicale risorgimentale su Michelangelo contribuì alla diffusione della sua fama mitica mettendone anche in risalto nuove accezioni. Attraverso l’analisi delle fonti storiche, delle fonti letterarie della drammaturgia musicale, delle opere figurative dell’artista e di quelle a lui dedicate e che lo vedono protagonista, si è qui scelto d’indagare un Ottocento musicale a tratti inedito o fino ad oggi solo parzialmente conosciuto che, ripercorrendo “l’universo” michelangiolesco, si pone alla ricerca di una più completa verità sul Maestro e sull’inesauribile mistero della sua imperitura Arte. At every epochal turning point of History it has been unavoidable to rely on the evocation of a «modern giant» that is Michelangelo Buonarroti, the supreme artist and hero of freedom who in the Risorgimento found his own peculiar place also in a heated political debate. The mythologem that developed in the nineteenth century around this «divine» artist of the Renaissance, revived the Italic universal genius in terms of both myth and philology and increased the relating bibliography to an already monumental extent. The musical theatre of the Risorgimento about Michelangelo contributed to the diffusion of his mythical fame bringing out new meanings. Through the analysis of the historical and literary sources of the musical drama, of the figurative works of the artist and of those dedicated to him as a protagonist, here it has been chosen to investigate a musical nineteenth century, at times unpublished or only partially known, which, tracing the Michelangelesque “universe”, sets out to search a more complete truth about the Master and his inexhaustible mystery of undying Art.
La guerra in canzoni : la Resistenza italiana a Reggio Emilia ed il suo inno
The song “La Brigata Garibaldi” has become the anthem of the Italian Resistance in Reggio Emilia, and is best known in the version recorded by Giovanna Daffini (who sang the song at funerals of former Resistance fighters). Its title refers to the Garibaldi Brigades, linked to the Italian Communist Party, which are named after the famous general of the Italian Risorgimento, Giuseppe Garibaldi. The text of the song invites us to situate these brigades in the context of the Resistance in Italy, especially in Emilia Romagna, and to evoke a piece of history that is, even nowadays, poorly studied. This partigiana version will be central to our study, as well as how the song was written, by whom, and in which circumstances. In order to do so, it will be necessary to introduce other Resistance songs (most of them written and sang in the province of Reggio Emilia), linked by text or by melody to “La Brigata Garibaldi”. Patterns, indicating the elements that most of these songs have in common, can easily be drawn. A very important aspect of this historical context in particular is indeed the exponential growth of these fighting songs, sang by irregular groups of partigiani, in order to create a sort of cohesion amongst the brigades. Finally, war through songs, but also war by songs, as the complicated interaction between original songs and parodies will be explored as well. If singing war songs creates cohesion and a certain synchronization of movements, these parodies (used by both partisans and Mussolini’s fighting units), aim to discredit and destabilize the enemy. In our conclusions, we will try to see if this song in particular, but also other Resistance songs of Reggio Emilia, are still known nowadays, and by what means they can be considered passeurs de mémoire.
Michelangelo e la furia della figura – Reading musicale
2008
Tra scultura, pittura e scrittura poetica, la storia di Michelangelo. Testo di un reading musicale scritto e letto da Noemi Ghetti con l’accompagnamento di Marika Lombardi (oboe e oboe d’amore) nella Loggia del Romanino del Castello del Buon Consiglio di Trento il 31 luglio 2008, nell’ambito del VII Festival Risonanze Armoniche.
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