second Macinanti Andrea - Bologna conversation with the specialist, interpreter complete organ works -
Macinanti and Michele Andrea Bosio
Macinanti Master, could you briefly explain the important role by Mark Henry Bossi in the history of Italian music of the twentieth century?
Post way, the question leads to a disappointing answer: if you exit the organ context, Bossi was not an innovator. He was faithful to the tradition, the avant-garde looked at with suspicion (the same Respighi irritated him), watched with profound intelligence because it was beyond the Alps and was soon let go to his unique style that unfortunately could not develop dying in his full creativity. It was true discoverer of the past, think of the Missa pro defunctis op. 83, in the style of Palestrina, and engages in tutti i generi musicali tranne in quello del quartetto. Tuttavia, la sua musica rivela a chi la sta scoprendo, eseguendo ed ascoltando senza falsi pregiudizi, valori di grande compostezza formale, sapiente costruzione e italianissima cantabilità.
Come è nata l'idea di dedicarsi all'edizione critica dell' opera omnia per organo di Bossi?
Ho sempre cercato di dare il mio modesto contributo alla musica organistica italiana nata tra l'8 e il 900, or of the period of transition to full wrongly considered 'critical' or worse 'limitation'. From an early age I was absolutely convinced that, beyond the myriad of poems and verses in which the public was bored of our concerts and organ music far beyond the quaint taste of drama with which he tried to amuse him, you were wise to sound production and high musical content. I let myself be taken over by Bossi and music from the greats of his generation (Respighi, Perosi, Radish, Matthey, Yon ...) and, since the early nineties, I devoted almost entirely to us. The idea to produce an edition complete works for organ bossiane, was born out of many hard to find brani, dalla necessità di scoprire le molte pagine inedite e soprattutto dall'impulso vitale e coraggioso dell'editore Carrara che fu il primo a volere, a pianificare quest'opera estremamente complessa. Il sesto volume appena uscito, chiude il ciclo delle opere originali. Ora si continua con le trascrizioni, le opere per organo e orchestra, per voci e strumenti e organo e per harmonium.
Su quali testimoni musicali e su quali fonti storiche vi siete basati?
Abbiamo utilizzato esclusivamente partiture a stampa appartenute Master, full of his notes fingering, pedaleggiatura, registers, records and other corrections. We have compared the manuscripts with creating a complex but compelling reading syncretic. They have all published and unpublished address all phases of the 'construction' of each song, showing in critical apparatus, sketches and reconstructions.
could talk about the close link between the music of Bossi and instruments for which it was designed?
The sound world of Bossi is very close to that of the Italian organ. He was always faithful to the characteristics of classical organ school (in particular the pure voice of the filling) by requiring builders who shared his career ( primarily the supreme Vegezzi-Carlo Bossi), innovation and progress, but always faithful to the primitive core of our school. That's why the organ music of Bossi 'Italian' is like that of Franck "French" or that of Reger is 'German'. It 'a repertory that lives in a particular tone of a specific case, as in the case of lied it is the German language. Who does not have it as mother tongue, can approach the required sound by composers, but not getting it at all.
seems strange observation, but did have a hard choice, appropriate to the organ music by Bossi, because today it seems there are few specimens in a state of complete authenticity ...
It has been said a million times that so-called Cecilian have destroyed ancient organs. This is partly true because the anxiety Reform has not expressed almost never had to address that with the noble example set Bossi or Perosi: keep intact the old and build something new .... It has been amended, replaced, defaced ... But we must begin to have the seriousness to say that in recent times - thanks to the diligent work, almost "ethnic cleansing" of Iconoclasts, known philologists! - You are literally "thrown away" dozens of bodies Cecilian . There is still plenty of old organs, of every age and every school, but between the two organs built centuries intact and preserved from stupid 'baroque style' or electrification programs, there remain very few. A three keyboards are perhaps only 4-5 on the Italian territory: among them the superb Vegezzi-Carlo Bossi (1902) of the Cathedral of Aosta. Shame on you!
