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Relasche / Entr 'acte (Clair-Satie-Picabia)

La Parigi dei primi del 900, per la ricchezza della sua vita culturale, esercitò una forte influenza sugli artisti di tutta Europa, i quali diedero vita a movimenti avanguardistici che tracciarono profondamente e in modo indelebile tutti i campi artistici.
Un'epoca fatta di trasgressione ed imprevedibilità, dove i values \u200b\u200bconsidered essential to widespread opinion and aesthetic principles are questioned, an era marked by a general contamination in which the arts are to slide over one another.
an important time for the man who, in a climate of political and social crisis, felt the need to look within, discover a world of fear and evil.
And the main turning point is that this abyss of anxiety no longer remain a private matter, but the art will become the gateway to the election of the "bad" hidden in 'I am human. Aesthetics of ugliness, which will soon the name of expression.
Erik Satie aroused the interest of many different avant-garde circles, particularly the contemporary Dadaists, whose artistic life took place under the sign of contempt for the sanctity of middle-class anxiety and academic progress.
The meeting of Dadaism with movies and music produced the masterpiece "Entr'acte" (1924, directed by René CLAIR ), so named because it originated as a cinematic interlude "Relasche" , ballet "instantly" libretto by Picabia.
Relasche has the intent to relax the public and away from the daily concerns of the road with songs and arias plebeian.
written music for ballet è opera dell'eclettico Satie, e venne associata come colonna sonora del film (una delle prime colonne sonore cinematografiche).
Come buona parte delle opere del musicista francese, le musiche di Relasche , eseguite in sala da un'orchestra, sono originali, eccentriche e provocatorie, improntate su un gusto del non-senso, ma che paradossalmente suscitano la curiosità del pubblico benpensante, scandalizzandolo.
Un punto di forza di Entr'acte è il cast: Jean BORLIN (cacciatore e giocoliere); Francis PICABIA ed Erik SATIE (gli uomini con il cannone); Marcel DUCHAMP e Man RAY (giocatori di scacchi) e Inge FRIES (la ballerina barbuta).
Per certi aspetti il film sembrerebbe ispirato al futurismo di Palazzeschi, difatti Clair trasforma l'espressione del dramma nel suo rovescio: "trasformare i funerale in cortei funebri".
Il funerale si trasforma in una corsa, che accellera, accellera, diventa una vertiginosa fuga, il carro funebre si rovescia, la bara rotola, rotola, rotola su un campo, si apre, ne esce......un prestigiatore.....che fa sparire i partecipanti e se stesso. Questo è dadaismo!

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"what you gonna do? Peopling Los Angeles?"

(Testo tratto dalla rivista francese "La Rivoluzione surrealista" del 1° ottobre 1927)

Data la personalità e la natura degli argomenti a cui was confronted, it is worth dwelling on the complaint of Mrs. Chaplin.
status of a married woman is a profession like any other, from the day when the woman began to claim, because it is, his share of food and sex. That the law requires a man to live with one woman has no alternative other than to divide this woman with the habits that are peculiar, to put at the mercy of this woman. If it exposes the chatter of people, why the same law that gave more rights to the wife not arbitrary turns against her with the same severity that they deserve a 'embezzlement and defamation, so obviously linked to more deaf interest?
And then, why habits are subject to legislation? What nonsense! If we adhere to the scruples of the rather marginal virtuous and inexperienced Mrs. Chaplin, the comedian are considered abnormal, unnatural, perverted, degenerate and indecent habit of fellatio. If you could reasonably start a free discussion on morals, then it would be a normal, natural, healthy and decent dismiss the complaint of a wife believes that he inhumanly refused to practice both general and well and perfectly defensible.
The lawyers are trying to oppose a man full of life the most disgusting place that used common nelle riviste per idioti, l'immagine della mamma che chiama papà il suo legittimo amante, e ciò al solo scopo di riscuotere da quest'uomo una tassa che neanche lo Stato più esigente si è mai sognato, una tassa! che pesa prima di tutto sul suo genio, che tende anzi a privarlo del suo genio.
I motivi della denuncia della signora Chaplin dipendono da 5 capi principali:
1: questa signora è stata sedotta;
2: il corruttore ha voluto farla abortire;
3: si è deciso a sposarsi solo perchè costretto ed obbligato, e con l'intenzione di divorziare;
4: per questo egli l'ha costretta a subire un trattamento ingiusto e crudele;
5: la fondatezza di queste accuse è dimostrata dall' immoralità dei discorsi che abitualmente pronuncia Charlie Chaplin.
Ma se è vero che il corruttore non aveva intenzione di farle vivere un bel matrimonio, non è meno vero che è stata lei, con tutta la sua ingenuità, ad avere il sopravvento su quell'essere demoniaco. Non si può non stupirsi di fronte a tanto accanimento in una persona così giovane, così inerme. A meno che non abbia pensato che il solo mezzo per diventare la moglie di Charlie Chaplin fosse prima di tutto quello di andare a letto con lui e poi..., ma allora non parliamo più di seduzione, e un'altra situazione con i suoi rischi, l'abbandono, la gravidanza.
Il convenuto ha dichiarato numerose volte alla querelante di non essere un sostenitore dell'usanza del matrimonio, che una certa coppia aveva avuto 5 figli senza essere sposati e aggiunse: "per un uomo e una donna è proprio il modo ideale di vivere insieme", ed ecco per noi una lezione edificante della famigerata immoralità di Charlot. Vorremmo vedere se un matrimonio contratto sotto minaccia leghi in tutto e per tutto un uomo e una donna, pur considerando che questa gli abbia dato anche un bambino.
Eppure sembra che Charlie Chaplin, dopo tutto, pensi in buona fede a rendere possibile la vita coniugale. Ma non è fortunato, perchè cozza contro un muro di idiozia. Tutto è criminoso per questa donna che crede, o finge, che la sola ragion d'essere sia quella di fabbricare marmocchi, bella idea della vita. "Che cosa vuoi fare?Ripopolare Los Angeles? "He asks in exasperation.
It will therefore have a second child, since it requires, but that after at least let him alone: \u200b\u200bhe did not want to know nothing of fatherhood, as it was for the wedding. To please his lady, he should instead go to make monkey with puppets. This is not something for him. His life was a living hell, "be careful not happen to me one day to become crazy because I will kill you." for a man to succeed to realize such a possibility, murder, should not perhaps have been subjected to treatment such as to raise insanity as involving the murder?

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Vexations (Satie, 1893) Pierrot Lunaire Op.21

"I came to the world very young, in a very old"

The music of Satie (Honfleur 0.1866-Paris, 1925) is an eccentric, provocative, given as an antidote to conventional formal logic and Wagner.

Legato avant-garde circles, became interested in the Dadaist movement, an evolution of expressionism some of which flowed in a new form of exaggerated realism, in Germany called Neue Sachlichkeit (New Objectivity).

Vexations is one of the greatest compositions for piano by Satie, which uses the structural principle of ceaseless iteration of a given pattern.

One of the eccentricities is that the performer has to play the piece " to himself" (an indication of its unusual and original performer) 840 times in a row, which means that the work hard, according to the time chosen, between 12 and 24 hours!

Use of time continuum , namely the iteration of a theme, has as its goal to eliminate the concept of time (and rhythm), structured as a simple pulse, then "music-only period, the one that will chime musical structure at zero , "or" no time frame events. "

Vexations was composed in 1893, remained unknown until 1963, when the American composer John Cage (at that time influenced by the theory of Eastern Zen), perhaps finding an assonance between meditation and hypnosis induced the circularity of the execution of Vexations , decides to run at the Pocket Theatre in Manhattan, with the collaboration of four pianists who alternated from 6 pm to 12:40 the following day.

short, a piano composition of original and provocative, with a function rather hypnotic, but that " means nothing out of his lifeless package."

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"I would not write this music ... I do not like this music. But why do I have the supreme commander ordered me and I am only the loudspeaker of an idea "

Works of Schoenberg (Vienna 0.1874-Los Angeles, 1951) had no favorable reception by the Viennese public, very conservative, who resisted every innovation. It was in Berlin that the Austrian composer, found a more sympathetic and supportive towards him, and here, in 1912 was carried out for the first time his Pierrot Lunaire Op.21 (subtitled "three times seven poems by Albert Giraud) who won the title of "Opera Scandal."

to its expressive, melodrama was appreciated by a group of young Italian composers: the "Generation of '80" (as defined by Mila M. born because all around 1880), composed by Alfano, Respighi, Malipiero, Pizzetti and Casella, who presented the Pierrot on 1 April 1924 in Florence, in the Sala Bianca of Palazzo Pitti: "Every evening, in every town invariably unleashed a violent reaction of the public [ ...]. Schoenberg, a man of nature dreadfully restless and agitated, could not understand why his music could arouse so much opposition and wanted to return to Vienna after each concert. "

On 2 April, in" Box and Schonberg to the Friends of Music "on" nation, "said Copertini: " It was an April Fool's as big as a dirigilbile " this statement .... cost him his place as a critic at the newspaper.

This is a commissioned work by an actress of prose, that Albertine Zehme, who asked Schoenberg to put music in 21 of the 50 poems of the Belgian symbolist poet Albert Giraud.

transaction characteristics is renunciation of tonality, that Schoenberg meant for the emancipation of dissonance, which is the liberation from the obligation to follow an agreement at a consonant dissonant.

In his "Manual of Harmony", 1911 , Arnold Schoenberg created a sort of phenomenology of traditional harmonic language, from its origins to the Wagnerian chromaticism. Here shows interest for the construction of agreements that can be composed by overlapping the fourth speaks of Klangfarben Melodie (melody of tones and colors, a sort of idea experimentally realized in the early works) and atonality, Schoenberg's term for another does not accept, preferring to talk about pantonal mean the free use of all possible relationships within the tonal system of Western music.

But more than writing atonal, the Pierrot Lunaire got a hit-scandal for the new form of vocal expression, substituting the singing voice of the technique Sprechstimme (spoken voice) or Sprechgesang ("song spoken "), located halfway between singing and recitation. In the preface that accompanied the publication of the score, the composer explains that the singer-narrator has just sing the note and leave immediately, usually by switching to the next note with a kind of glissando.

An interesting news about the staff, which sees a significant reduction in the number of performers who sometimes find themselves playing two instruments: piano, violin, viola, clarinet-cl.basso, flute, piccolo, cello, versatility instrumental drift from the world of Cabaret and Café Concerto.

Each of the 3 parts of Pierrot is markedly different:

PART I: The Italian form is presented as the poet of despair and suffering, enchanted by the moonlight that evokes rich images of macabre irony, slightly morbid.

PART II: the tone becomes painful, Pierrot appears in the night in the throes of a desperate madness, the victim of paranoid fantasies, visions of death.

PART III: a Pierrot is allowed to exit from the nightmare to surrender to the farcical antics and nostalgia for happier times in the past.

"This is what you can do to feel free, but musicians who choose Pierrot Lunaire as an example will be capable of self-imposed rules such as that I imposed myself? Freedom is a great thing, but ... grain of salt! "