De paz e de guerra di Azio Corghi, una poesia possibile
Keywords:
Corghi-Saramago Correspondence, musical theatre, musical rhetoric, Figurenlehre, Musical dramaturgyAbstract
Azio Corghi and Saramago’s theatre in music represents the highest synthesis of the compositional, dramaturgical research and of the aesthetics of the composer: eight titles in about twenty years of artistic union. Written for choir and orchestra, De paz e de guerra (2002) is an unicum in Corghi’s production and an exemplum of the relationship between the two artists. A love poetry of a very young Saramago, from the homonymous title, becomes a reflection on the peace and war dyad. Corghi’s unique composition on a text that is not in Italian, the score analyses the phonetic and semantic value of the Portuguese poetry illustrating some of the most characteristic of Corghi’s poetics: the theatricality of the gesture, the research of the “gesture/sound/sign” relation and the word as “sound/meaning/musical” model. The study recovers these principles through the text analysis, the shape and the rhetorical figures. The research of a modern “seconda prattica” is the most significant aspect among the recalls to the baroque Figurenlhere and the graphic hypotyposes typical of the vocal and instrumental texture style of the composer. The figurae, either prototype-figures, or model-figures [Bartel 1987], contributes in an authentic and significant way to the creation of the piece. They are fundamental elements in the process “to shape the duration” of Bergson’s matrix and they significantly determine the development of the musical dramaturgy that allows the transposition in music of a literary or poetic text transforming it into a musical theatre.
