fbpx Biennale Musica 2020 | FontanamixEnsemble / Collettivo In.Nova Fert
La Biennale di Venezia

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FontanamixEnsemble / Collettivo In.Nova Fert


Collettivo In.Nova Fert: Bernardo Lo Sterzo, Livia Malossi Bottignole, Marco Pedrazzi, Alessio Romeo, Diego Tripodi
Dramaturgy and speaker: Luca Scarlini
Video:Stefano Croci
Voice:Valentina Coladonato
FontanaMIXensemble:flute Lavinia Guillari; clarinet Marco Ignoti; violin and viola Valentino Corvino; cello Sebastiano Severi; guitar and electric guitar Walter Zanetti; harp Alice Caradente; accordeon Jacopo Cerpelloni; piano and keyboards Stefano Malferrari, Franco Venturini; sound projection Nicola Evangelisti
Conductor:Francesco La Licata
In collaboration with:Centro Studi Maderna del Dipartimento delle Arti dell’Università di Bologna MAMbo, Museo d'Arte moderna di Bologna

Description

The centennial of Bruno Maderna’s birth is being met with a multiplicity of celebrations for the Venetian composer (1920-1973), who constantly meshed composition and conducting, ceaselessly testing his composition against its production in sound. In the vast range of Bruno Maderna’s horizons an entire section is dedicated to the scores he wrote for television documentaries, the soundtracks for films, and his passion for genres such as jazz, operetta and Kurt Weill’s cabaret (Maderna conducted Strehler’s first production of A Three-Penny Opera, with Giacomo Manzoni at the piano).
This voracious curiosity is highlighted in the concert-documentary Sette Canzoni per Bruno, a world premiere and joint tribute by the Ensemble FontanaMix, directed by Francesco La Licata, and the Collective In.Nova Fert, a young ensemble dedicated to a “communitarian” composition of music. It features seven musical moments that weave together voices, ensembles, videos and electronics to narrate seven different chapters in Maderna’s life, from the violinist and conductor of The Happy Grossato Company to the composer of the great masterpieces of the 1970s.
A concert-documentary made of “fragments, sketches, magic squares from Maderna’s work, also borrowed from the transcriptions of authors of the past and the lighter production, which are the sources for freely elaborated compositions that together form a musical story strongly imbued with his way of making music and his persistence in always exploring the new” (from the presentation).


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