I was pleased to discover that, while my mind was taken in the last few days by Rapsodia Satanica, Italy saw a sort of Pietro Mascagni revival (Mascagni was called by Baron Alberto Fassini – also known as Alfa – to write the music for Nino Oxilia's Rapsodia Satanica).
The programme at Bari's Petruzzelli features indeed Mascagni's 1890 masterpiece, Cavalleria Rusticana with costumes by Bari-based designer Giuseppe Bellini.
Mascagni was born in Livorno in 1863 and at a very young age started composing liturgical music.
Two elements inspired Mascagni as a young man, sacred and profane music and his compositions – characterised by tumultuous motifs and more calm and serene melodies – had a strong communicative power and energy.
In Cavalleria Rusticana Mascagni put a drama into music, analysing the psychology of the characters through his score. Though when he wrote the score for Rapsodia Satanica Mascagni felt that the music should rule over the images, he once stated: “My artistic ideals can be summarised in one concept, the absolute alliance between music and words.”
At the moment I'm sort of collecting old Mascagni scores to see if I can reuse their artwork for fashion purposes and prints. To give you an idea about Mascagni's musical style and for further inspirations I'm embedding here an extract from Cavalleria Rusticana.
PietroMascagni_CavalleriaRusticana
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