Plays

Leonardo-da-Vinci
Leonardo da Vinci (Anchiano, 1452 – Château du Clos Lucé, Amboise, France, 1519)

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UK flag Leonardo and Music

Story with Music by Fernando Fracassi dedicated to the 500th anniversary from the death of   Leonardo da Vinci (1519-2019)

Narrator and Flutist: Fernando Fracassi
Text:
Fernando Fracassi
Music and Arrangements:
Composers of the Renaissance period, Fernando Fracassi

Leonardo and Music

INTRODUCTION TO THE SHOW

`Leonardo and Music´ is a theatrical show in a single act conceived in the form of a story in music in order to present the genius of Leonardo da Vinci to the general public on the occasion of the 500th anniversary of his death in Milan in 1519. The angle according to which the author and interpreter Fernando Fracassi sees the figure of Leonardo is circumscribed in this theatrical representation to that of Leonardo Da Vinci man, thinker, philosopher, musician and acute observer of the new society of his time, the Renaissance one, through the analysis of its poetic and theatrical and above all musical manifestations, also seen in relation to the philosophy and customs of the time. Starting from Leonardo’s original manuscript, still the subject of numerous scientific studies and the subject of great debates between scholars and intellectuals of various origins, known by the name of the Vitruvian Man´, in which there is also a short composition by Leonardo, Fernando Fracassi leads (directly on stage using music instruments of his private collection) the spectators into the musical artisan workshops of the period where antique straight flutes, pipes and piccolo were built alongside musical instruments of violin making, explaining their construction, the execution practice and bringing faithful reproductions of musical instruments of that age . From the ancient workshops of musical instruments, the author virtually invites the public to enter the Renaissance courts where poems, jesters, entertainment music and choreographed ballets were proclaimed contextualizing the evolution of musical, poetic and narrative forms in the historical-political framework of the Leonardo’s time, including speculative and ethical excesses in the proliferation of methods and guides (such as the famous `Galateo ‘by Giovanni della Casa or the` Method for Flute’ by Lorenzoni) or highlighting the paradoxes of that society. The opportunity thus gives Fernando Fracassi the opportunity to perform live on various flutes original music of the time arranged on modern instruments or accompaniments. The figure of Leonardo therefore constitutes the common thread that binds various languages ​​of knowledge of the sixteenth century and of the places where Leonardo lived and worked ‘and is outlined through his vision of life and of art itself expressed in quotes, anecdotes, reflections. ´Leonardo e la Musica´ therefore does not present the characteristics of an academic lesson dedicated to experts only, let alone the features of a conference or a study summit on Leonardo. On the contrary, the show flows easily through an essential, direct and clear language in which everyone, regardless of their cultural background, geographic origin or skills, can know the thought and the varied art of Leonardo da Vinci and the sixteenth-century society that become he lives in his canvases and writings. Leonardo’s originality as an architect, engineer and inventor therefore does not constitute the central theme of the show; on the contrary, the invention of the press with the consequent proliferation of musical amateurism and public concerts complete its treatment alongside other cultural aspects. The scenic and narrative structure follows the characteristics of the great theater of Dario Fo and of the `American lessons’ of Italo Calvino in the original theatrical version of Giorgio Albertazzi. No emphasis of the scene, reduced in this representation to the essential, no costume or theatrical artifice are present in this show. This allows the spectator to be able to attend the musical and theatrical representation as if he were participating in a lively conversation between friends who discuss about Leonardo and the society of his time through the medium of music, themes in which there is sufficient space for both reflection or for the acquisition of new content that for moments of hilarity or play.

Italian Leonardo e la Musica

Racconto in musica di Fernando Fracassi dedicato al cinquecentesimo anniversario dalla morte di Leonardo da Vinci (1519-2019)

Narratore e Flautista: Fernando Fracassi
Testo: Fernando Fracassi
Musiche ed Arrangiamenti: Compositori dell’ età rinascimentale, Fernando Fracassi

PRESENTAZIONE DELLO SPETTACOLO

`Leonardo e la Musica´ e´ uno spettacolo teatrale in un atto unico concepito in forma di racconto in musica allo scopo di presentare al grande pubblico il genio di Leonardo da Vinci nella ricorrenza del cinquecentesimo anniversario dalla sua morte avvenuta a Milano nel 1519. L´angolazione secondo la quale l´autore ed interprete Fernando Fracassi vede la figura di Leonardo viene circoscritta in questa rappresentazione teatrale a quella del Leonardo Da Vinci uomo, pensatore, filosofo, musicista, melomane ed acuto osservatore della nuova società del suo tempo, quella rinascimentale, attraverso l´ analisi delle sue manifestazioni poetiche, coreutiche, drammaturgiche e soprattutto musicali vista anche in relazione alla filosofia ed ai costumi del tempo. Partendo dal manoscritto originale di Leonardo, oggetto ancora oggi di numerosi studi scientifici e tema di grandi dibattiti tra studiosi ed intellettuali di varia provenienza, conosciuto con il nome dell´ Uomo Vitruviano´  nel quale e´ presente anche una breve composizione di Leonardo, Fernando Fracassi conduce gli spettatori nelle botteghe artigiane musicali del periodo dove venivano costruiti flauti diritti antichi, pifferi ed ottavini accanto a strumenti musicali di liuteria, spiegandone la costruzione, la prassi esecutiva e portando direttamente in scena fedeli riproduzioni di strumenti musicali di quell´eta´facenti parte della sua collezione privata. Dagli antichi laboratori di strumenti musicali, l´autore invita virtualmente il pubblico ad entrare nelle corti rinascimentali dove venivano declamate poesie, eseguite giullarate, musiche di intrattenimento e coreografati balletti contestualizzando l´evoluzione di forme musicali, poetiche e narrative nel quadro storico-politico del tempo di Leonardo ivi inclusi gli eccessi speculativi ed etici nella proliferazione di metodi e guide (come ad esempio il celebre `Galateo´ di Giovanni della Casa od il `Metodo per Flauto´ di Lorenzoni) od evidenziando i paradossi di quella società. L´occasione da´ cosi´modo a Fernando Fracassi di eseguire dal vivo su vari flauti musiche originali del tempo arrangiate su strumenti od accompagnamenti moderni. La figura di Leonardo costituisce dunque il fil rouge che tiene legati vari linguaggi della conoscenza del Cinquecento e dei luoghi dove Leonardo visse ed opero´ e si delinea attraverso la sua visione della vita e della stessa arte espressa in citazioni, aneddoti, riflessioni.´Leonardo e la Musica´ non presenta dunque le caratteristiche di una lezione accademica dedicata ai soli esperti, ne tanto meno i tratti di una conferenza o di un summit di studi su Leonardo. Al contrario, lo spettacolo scorre agevolmente attraverso un linguaggio essenziale, diretto e chiaro in cui ognuno, indipendentemente dal proprio bagaglio culturale, provenienza geografica o competenze può conoscere il pensiero e la variegata arte di Leonardo da Vinci e della società del Cinquecento che diventano vive nelle sue tele e nei suoi scritti. L´originalità di Leonardo come architetto, ingegnere ed inventore non costituisce quindi il tema centrale dello spettacolo; al contrario, l´invenzione della stampa con il conseguente proliferare del dilettantismo musicale e dei concerti pubblici ne completano la trattazione accanto ad altri aspetti culturali. La struttura scenografica e narrativa segue le caratteristiche del grande teatro di Dario Fo e delle `Lezioni Americane´ di Italo Calvino nell´originale versione teatrale di Giorgio Albertazzi. Nessuna enfasi della scena, ridotta in questa rappresentazione all´essenziale, nessun costume od artificio teatrale sono presenti in questo spettacolo. Questo consente allo spettatore di poter assistere alla rappresentazione musicale e teatrale come se egli stesse partecipando ad una vivace conversazione tra amici i quali discutono circa Leonardo e la società del suo tempo attraverso il mezzo della musica, temi in cui esiste sufficiente spazio sia per la riflessione o per l´ acquisizione di nuovi contenuti che per momenti di ilarità o ludici.

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Babesch

BAch, BEethoven, SCHumann

Story with Music in two parts by Fernando Fracassi

Copyright © 2013

Fernando Fracassi: Flute, Piccolo, Alto Flute, Narrator

PRESENTATION OF THE SHOW

UK flag The musical depicts the History of European Instrumental Classical Music from Johann Sebastian Bach to Francis Poulenc following the structure of a story with music.
In support of the narration, it utilizes live performances of which the flutes (concert flute, piccolo and alto flute) and the piano, constitute the intermediary elements.
The evolutive way of performing Babesch becomes compulsory, joined through original or arranged compositions and extrapolated from the Chamber Music’s repertoire for concert flute, or arranged from other instruments with particular reference to the evolution of the Sonata form through the centuries.
The advantage of Babesch is not only an opportunity to present to an audience, who is not professional, the historical context in which the major composers of the Classical Music world operated as well as their personalities and works, but especially to exit from didactic patterns or traditional fruition of the knowledge through a medium which is educational, funny and original.
In Babesch anecdotes and other curiosities are also revealed: did you know for instance that Johann Sebastian Bach was locked up for many days for rebelling against the Duke of Saxony and Weimar? or about the bipolar disorder which affected the young Gaetano Donizetti or that Gabriel Faurè was inspired from the sadness of the painting of Diego Velásquez to create his famous Pavane op.50?
All of this, often not included in popular texts or specialized manuals with other intriguing details, are the result of a deep and direct research into sources which required the writer a period of impassioned work.
As for its destination and logistic simplicity, Babesch is designed for every type of audience: from schools to universities (representing an important complement for the formative curriculum of the students), from libraries to cultural associations or from the audience of small concert halls to theaters.
The principal objectives of Babesch are to introduce the layman to the amazing Classical Music panorama, to enable the listener to create his own music library in a logical way or to join to a concert with a musical background and last but not least, to widen personal knowledge in a multidisciplinary and multimedia way, starting from the simple listening of music.
Babesch is the demonstration that political history and war events influenced often the creativity and the freedom of expression of some composers but we will talk about this and much more at the Theatre.

Please note: this show is performed only in English or Italian language.

 

Italian  Babesch Presentazione dello spettacolo

 

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