The present album, with an all-star cast of Berlin Philharmonic principals and pals trains the spotlight on a pair of trios and a nonet that Rota wrote in Bari at the peak of his film productivity.Ī private man, short in stature and sparing with words, Rota had a rare gift for musical introspection. Riccardo Muti, one of his students at Bari, has revived some of his concert scores. Like Korngold’s, Rota’s ‘serious’ music suffered by comparison. If we think today that something sounds like ‘film music’, it will bear one of two thumbprints - either Erich Wolfgang Korngold’s in Hollywood or Rota’s in Cinecitta. Rota’s symbiotic partnership with the director Federico Fellini, starting with The White Sheik in 1952, catapulted him to world fame and redefined the art of composing for film. Had he not needed to earn a little extra money on the side in Rome’s dolce vita film industry, he might never have been heard of again. Nino Rota, at 32, was content to be a teacher in Bari, later director of its Conservatorio. In the summer of 1943, and for reasons still unclear, Milan’s best young composer moved to the undeveloped south of Italy and stayed there for the rest of his life.
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