Autorialità condivisa e processo compositivo a Hollywood: Weill e Ronell in One Touch of Venus

Kurt Weill’s musical production in Hollywood during the 1940s is varied, rooted as early as the late 1930s, yet it is possible to find some recurring elements. The close collaboration - unusual and unusual by Hollywood standards - with the figure of the musical arranger. It is worth noting the practice of assigning the role of the arranger to women: in the case of Kurt Weill, the arranger who joined him in the work was Ann Ronell, the ‘Tin Pan Alley Girl’. This collaboration generated different procedures in the Studio’s system was with reflections both in the creative process of music for film and on the function of film music itself. The relationship between Weill and the Studios was not idyllic: in the crucial phase of his career (1940-1948), the composer worked intensively in the Broadway system innovating the Musical, in Hollywood he sought some possible avenues of experimentation (dramatic structures, narrative flexibility), exploiting the characteristics of cinematic language. The mediation of the arranger, Ann Ronell, was crucial in this relationship, as she took up Kurt Weill’s instances of claiming his own compositional authorship by reinterpreting them - thus also protecting the interests of the production company. The film Musical One Touch of Venus becomes an ideal case study for investigating the relationship between composer and arranger, defining a practice of shared authorship in soundtrack making

Marie-Pierre Lassus, Gaston Bachelard musicien. Une philosophie des silences et des timbres

Marie-Pierre Lassus, Gaston Bachelard musicien. Une philosophie des silences et des timbres (Villeneuve d’Ascq, Presses Universitaires du Septentrion, 2010, 268 pp. ISBN: 978-275-740-1613) di  Marida Rizzut

Don Quixote is not dead. Believe, Sancho. Believe!

Esta contribución analiza la dramaturgia y la música de Man of la Mancha de Dale Wasserman, Joe Darion y Mitch Leigh (1965) con el fin de establecer qué función cumplían España y Don QUijote en el contexto del musical integrado estadounidense. Se propone que Don Quijote es vehículo de los conceptos de nostalgia, inociencia e idealismo y que esta obra contribuye a codificar el género del concept musical.Il contributo analizza la drammaturgia e la musica di Man of La Mancha di Dale Wasserman, Joe Darion e Mitch Leigh (1965) per stabilire quale funzione la Spagna e Don Chisciotte assumessero nel contesto del musical integrato statunitense. Si conclude che Don Chisciotte veicola i concetti di nostalgia, idealismo e innocenza e che con quest'opera si contribuisce alla codificazione del concept musical

Marie-Pierre Lassus, Gaston Bachelard musicien. Une philosophie des silences et des timbres

Marie-Pierre Lassus, Gaston Bachelard musicien. Une philosophie des silences et des timbres (Villeneuve d�Ascq, Presses Universitaires du Septentrion, 2010, 268 pp. ISBN: 978-275-740-1613

Autorialità condivisa e processo compositivo a Hollywood: Weill e Ronell in One Touch of Venus

Kurt Weill’s musical production in Hollywood during the 1940s is varied, rooted as early as the late 1930s, yet it is possible to find some recurring elements. The close collaboration - unusual and unusual by Hollywood standards - with the figure of the musical arranger. It is worth noting the practice of assigning the role of the arranger to women: in the case of Kurt Weill, the arranger who joined him in the work was Ann Ronell, the ‘Tin Pan Alley Girl’. This collaboration generated different procedures in the Studio’s system was with reflections both in the creative process of music for film and on the function of film music itself. The relationship between Weill and the Studios was not idyllic: in the crucial phase of his career (1940-1948), the composer worked intensively in the Broadway system innovating the Musical, in Hollywood he sought some possible avenues of experimentation (dramatic structures, narrative flexibility), exploiting the characteristics of cinematic language. The mediation of the arranger, Ann Ronell, was crucial in this relationship, as she took up Kurt Weill’s instances of claiming his own compositional authorship by reinterpreting them - thus also protecting the interests of the production company. The film Musical One Touch of Venus becomes an ideal case study for investigating the relationship between composer and arranger, defining a practice of shared authorship in soundtrack making.Kurt Weill’s musical production in Hollywood during the 1940s is varied, rooted as early as the late 1930s, yet it is possible to find some recurring elements. The close collaboration - unusual and unusual by Hollywood standards - with the figure of the musical arranger. It is worth noting the practice of assigning the role of the arranger to women: in the case of Kurt Weill, the arranger who joined him in the work was Ann Ronell, the ‘Tin Pan Alley Girl’. This collaboration generated different procedures in the Studio’s system was with reflections both in the creative process of music for film and on the function of film music itself. The relationship between Weill and the Studios was not idyllic: in the crucial phase of his career (1940-1948), the composer worked intensively in the Broadway system innovating the Musical, in Hollywood he sought some possible avenues of experimentation (dramatic structures, narrative flexibility), exploiting the characteristics of cinematic language. The mediation of the arranger, Ann Ronell, was crucial in this relationship, as she took up Kurt Weill’s instances of claiming his own compositional authorship by reinterpreting them - thus also protecting the interests of the production company. The film Musical One Touch of Venus becomes an ideal case study for investigating the relationship between composer and arranger, defining a practice of shared authorship in soundtrack making

L’opera da tre soldi secondo Damiano Michieletto

La stagione 2015/16 del Piccolo di Milano ha puntato sulla messa in scena dell’Opera da tre soldi di Bertolt Brecht e Kurt Weill per la regia di Damiano Michieletto contando su numerosi auspici: primo fra tutti la ricorrenza dei sessanta anni della prima rappresentazione italiana dell’Opera da tre soldi nel 1956 con la regia di Giorgio Strehler nonché la presenza e l’approvazione dello stesso drammaturgo. Vi è un forte legame fra il lavoro di Brecht-Weill e il teatro milanese, basti pensare a..