Liberamente ispirato
a Ingeborg Bachmann
Hans Werner Henze
Lettere da un’amicizia
(traduzione di Francesco Maione,
a cura di Hans Holler EDT,
Torino 2008).
Edizione originale:
Ingeborg Bachmann
Hans Werner Henze:
Briefe einer Freundschaft
Herausgegeben von Hans Holler.
© 2004 Piper Verlag GmbH,
München/Berlin
With
Giorgio Marchesi
Michela Cescon
Giacomo Palazzesiguitar
Written and directed by
Marco Tullio Giordana
Stage and lights
Gianni Carluccio
Production
Teatro di Dioniso
Fondazione Cantiere Internazionale d’Arte
di Montepulciano
Music
Henze
Hans Werner Henze and Ingeborg Bachmann met for the first time in the autumn of 1952. They were born only a few days apart, they were only twenty-six years old and both were trying to establish themselves on the post-war art scene in a Germany still in ruins. The composer immediately recognised in the young writer a similar soul and a companion in poetic research: Inge knows how to say with words what Hans Werner wants to express with sounds. This marked the beginning of a productive collaboration and friendship that lasted for more than two decades, characterised by enthusiasm, a continuous exhilaration of life and work and, soon, also by disillusionment and unhappiness. In a complex two-voice score – into which a third is inserted in the form of Henze’s music – moments of joy and great affection parade, and each collaboration or intellectual exchange between the two leaves traces far deeper than the often carefree tone would suggest. This is where the themes that characterise the work and the obsessions of both men challenge each other: hatred for Nazi Germany, the flight to the south and Mediterranean freedom, isolation and political commitment, the ambivalence of the fame and success they will both have, the violence of instincts and the joy of beauty, the search for a balance between work, life and love.
The stage is designed like an orchestra pit: music stands, chairs… the three performers step in and take their places… The exchange of correspondence begins – punctuated or interrupted by the music – and the mosaic of an extraordinary relationship is put together: Marchesi/Henze reads the letters received from Inge while Cescon/Bachmann read those received from Hans Werner, almost reversing the roles. Then Inge lights a cigarette and leaves the stage, Hans Werner remains alone with his music. Ingeborg Bachmann died on 17 October 1973 after excruciating exhaustion due to cigarette burns. A flame ignited her dressing gown without the writer, who was numb from medication, even being able to react. In the last painting we see Hans Werner finding Inge sitting at a coffee table. Ten years have passed since his death and the regret that he could not protect her is excruciating. Inge ignores him, even pretends not to know him. A dream perhaps or the extreme projection of an irredeemable sense of guilt. It is not an invention of ours but a story by Henze.
Introduzione di Gianluigi Mattietti
Nato a Roma nel 1962, si è laureato in Storia della Musica all’Università La Sapienza, con una tesi analitica su Jeux di Claude Debussy. Parallelamente ha compiuto i suoi studi musicali al Conservatorio di Santa Cecilia, diplomandosi in Musica elettronica e in Composizione. Ha conseguito il titolo di dottore di ricerca in Storia e Analisi delle Culture Musicali con una tesi dal titolo Geometrie di musica: il periodo diatonico di Aldo Clementi, che ha vinto il premio Latina ed è stata pubblicata dalla LIM. Ha ottenuto borse di studio dall’Università di Cracovia, dall’Istituto Goffredo Petrassi e dalla Paul Sacher Stiftung di Basilea, per ricerche sulla musica contemporanea. È stato docente di Composizione al Conservatorio di Cagliari e insegna attualmente Storia della Musica all’Università di Cagliari. Ha pubblicato monografie e saggi su alcuni aspetti teorici della musica d’oggi e su compositori come Aldo Clementi, Ivan Fedele, Toshio Hosokawa, Domenico Guaccero, Fausto Romitelli. All’attività di ricerca, affianca quella di critico musicale, collaborando con le riviste musicali come Amadeus, Classic Voice, Il Giornale della Musica, Il Corriere musicale. È membro del consiglio direttivo dell’Associazione Nazionale dei Critici Musicali.
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