Secondo post sulle mie musiche dedicato a Claudio Capriolo nonché al Maestro di coro Roberto Montuori. Mi ricordo delle belle cene a casa nostra, avremo avuto sui 35-40 anni, che tempi meravigliosi! C’erano Stefano e poi Serafino, detto l’Extropianper le sue simpatie per l’estropianesimo, che erano due miei compagni di scuola. Poi naturalmente mia moglie ed io.
A volte partecipavano anche altre persone, tra cui Giorgio. Si parlava di tutto e la musica – avevo da poco acquistato un eccellente impianto stereo – era la protagonista. Visto che Johann Sebastian Bach, il mio preferito, non piaceva a Stefano, ascoltavamo molto Sibelius, Chopin e Keith Jarret (il Concerto di Colonia!). Cantavamo e suonavamo anche parecchio.
Delle mie musiche a Serafino piacque soprattutto questa, che propongo qui, per pianoforte e batteria. Anche questo secondo pezzo ha un sapore un poco ‘contemporaneo‘. Le prossime musiche saranno invece più ‘classiche‘, qualche volta ‘leggere‘ e jazz. L’improvvisazione (purtroppo) giocherà sempre un suo ruolo.
As you know I have been musing on Pythagoras of Samos recently (Ὁ Πυθαγόρας ὁ Σάμιος). I wrote about him in my blog and in other blogs.
P was a great mathematician. Now it turns almost all bloggers MoR has been discussing with (also on P) have some math capabilities. MoR has instead very little. So he asked his friend Extropian for help.
Extropian is laconic and doesn’t like blogs. So he first sent this movie and just said: “This stuff is Pythagorean.”
He also sent me this paper on Pythagoras & Eugene Wigner that requires a degree in physics to figure out what the hell it means.
Finally he linked to another movie and declared:
“You (more or less) are a pianist but you’ll always be longing for the strings of a guitar, of a violin or of a lute. Pythagoras started a new world-view with the strings of a lyre. You may like this.”
I hope this will not be the music of the future (only because it sounds too robotic). But the 3d animation intuitively shows better than any book on acoustics the relation between the string lengths and the sounds: ie by pressing the strings the robotic fingers change their lengths which produces a change in pitch.
And my friend is right. From the age of 12 I was a decent guitarist then I turned into a pianist at 18, a big mistake, one out of many.
A Crazy Night of Revel
In the spring of 1995 – I’m only apparently digressing – my wife and I came back home from a party. Oh we had had such fun! She though went straight to bed being tired from a hard day at her office. I remained alone in the living room, feeling weird and restless.
There I saw my electronic keyboard, a Korg 01 WFD – now prehistoric – connected to a Mac and two Protei (Proteus 1 and 2.) Before laying my hands on the glowing keys I knew what I needed that night: fat strings sounds more than just piano sounds.
The result was a dozen improvisations that lead to nowhere (l’improvvisazione non porta a nulla, in italiano) and sound now so badly because of analogical worn out tapes and especially when compared to the pro stuff you’ve heard above. They though retain a personal value to me and they ex-press (in the literal meaning of ‘squeeze out’) one of the most authentic musical revelry I ever experienced in my life.
I mean, if Dionysus-Bacchus ever exists I’m pretty sure I met him that night. Another mysterious Dionysian experience is described here. And, Pythagoras and the Dionysian cult are connected, so no digression as I said (in fact Pythagoras was a reformer of Orphism via science. Orpheus was a reformer via music of the religion of Dionysos, the god of wine and unrestrained madness).
3-4 pieces out of 12 I still like a bit. I’m waiting for my digital DAT recorder to be repaired so I can have better sources for my musical ramblings.
Well, my readers are adult and vaccinated and have supported this rogue of Rome. With only 139 posts to date (a book of 400 pages?) we’ve been engaged in conversations totalling more than 2,300 comments, many of which extremelylong (a book of 1500 pages just the comments? More? Less?)
So dear readers, you surely have accompanied me on a mind journey mixing past and present and starting from the viewpoint of a homo medius de Roma. And mind: the journey has just begun.
Brushing Up Ancient Greek And Latin
Since its beginning my research assumed a brushing up of the Ancient Greek and Latin languages, among the rest. Of them I had knowledge albeit rusty and forgotten mostly, after 16 years of Information Technology.
Latin and Greek are important to understand the Greco-Romans.
Not that those who can’t read these 2 languages are not capable of understanding antiquity. I’m not saying that. As for my experience I understood enough of the Russians just by reading their great novels in Italian.
However, it is undeniable, the feel of a folk a language can provide is not only part of the fun of any journey, whether in space or time. Such feel also transmits deep experiences that, in a world increasingly shallow, are precious currency beyond any doubt – or so it seems to me.
Big Poems. Two, Actually
Mario [*exasperated*]: “You wanna defeat Latin and Greek at your age and MAKE US ALL CRAZY??? You wanna do that??? Tell us WTH is your dirty little secret for miracles then.”
MoR: Oh, my dirty little secret. I have a couple. So do me the favour to listen to me:
I propose the construction of two long gradual poems, one in Latin and one in Greek.
How? Via the assemblage of wisely picked passages from the two respective literatures.
With bits of motivation (and dogged spirit) Latin and Greek will be leisurely, leniently, delicately (and deeply) SHOT into our blood, electrifying it wholly.
Extropian: “WOW! Electricity into BLOOD! How stupid of me not having thought of that.”
“Wow – I said – this woman knows how to reverberate esoteric emotions through words. I adore her and want to write poems too.”
Not that easy, I can’t. And not just in this hyperborean language, but in my own native bastard Latin neither.
Collage game.So I invented the ‘collage game’. I did a little experiment with Walt Whitman, one of my favourite poets.
Every game has its rules. Here were mine:
1) Collection of emotional verbal materials (CEVM). One randomly leafs through Walt Whitman’s (or any other poet’s) pages and when something strikes an emotional note one jots it down and continues until ‘emotional materials’ collected are enough to make her/him happy.
2) Assemblage of collected (emotional) materials (ACEM). After collecting it’s due time for assembling. Lines get broken down to attain rhythms following our whims plus we add editing. That all should suit our mood & taste is crucial since, if we comply to CEVM and ACEM, the final outcome will magicallyreflect our feelings and result in sincere poetry expressed with gorgeous words.
COOL isn’t it? Poetry made easy through plagiarism.
Extropian: “You will be caught.”
Mario (the Neapolitan): “Caught? Everybody is stealin’ from everybody man. Go ahead!”
MoR: “Whitman is long buried and won’t protest but don’t want to wrong him. It was only an experiment, 80% Whitman, 20% me. Emotions? Fifty-fifty possibly. I had pig flu so I was down. Itinfluenced the tone making it all compliant with CEVM and ACEM btw.
BUT, the whole point is THE experiment, not the result (bad).”
Extropian: “Actually I don’t see the point of the experiment.”
MoR: “Me neither, would I be Man on Roma if I did? Now shut that helluva mouth up and listen to my canzone.”
I raise a voice to sing today
With foreign words
I would like to sing the amplest of poems
And to say of the moon that descends on the Capitol.
But I am no man, my strength is dried up.
“Lift up your head man.”
Oh my strength is dried up
And I am confounded,
My body in deep pain.
“Lift up your heart you man.”
Oh but I am a worm, no man, and
Who are you by the way
to talk to me like that?
[MoR gets upset a bit, but the voice fades away, never to be heard]
Whoever you are I will say:
He’s no man
Whose life was consumed
with chimeras and dreams
and with etc. etc. etc.
Two Gradual Ancient Poems Going Backwards
Leaving Whitman behind, our 2 poems will be assembled so as to be gradual in their difficulty, from the easiest to the hardest. We’ll go backwards in time, starting from late debased Latin & Greek [the Greek Septuagint and the Jerome’s Vulgate translations of the Bible] that are much closer to modern languages, hence a lot easier (baby’s talk often, compared to Plato or Cicero.) We’ll then gradually proceed towards the most pure and classical.
Mario: “A dantesque ascent from impurity to purity?”
MoR: “No, no, only in language, not content. How can the Bible be impure? Although from a strict linguistic viewpoint the progression from impurity to purity is undeniable.
Mario: “You wanna disrupt phrases and words as you did with Whitman?”
MoR: “No. Whitman was just an experiment. The 2 poems will be respectful of the originals. The collage will only imply a choice sequence of appropriate passages – we’ll see along the way.
Readers as well – it is important – will be asked to contribute with passages chosen by them.
We’ll build 2 long poems. It will be fun!”
Extropian: “And the grammar? Nobody learns a language by hurling headlong on texts without any formal preparation.“