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At 60, Carlo De Martini continues to consider the activity of the musician as an incurable, idealistic youthful passion. Otherwise we would not explain some bizarre situations in which, with the typical skill of Pisces (March 8), he loves to get in.
For example, the Chorus course for the prisoners of the "Nave", special department of the Milanese prison of S. Vittore, where about thirty characters awaiting trial for crimes related to the sale and consumption of generic drugs, in twelve weekly meetings of a couple of hours are instructed and made able to perform (always inside the prison) a program of various chants with several voices. This nice effort, during which relationships are created with young promises of international drug dealing, with old foxes to fifth confinement, and in general with people unable to make correct decisions or more often condemned in departure to life choices that lead them without alternatives between those walls, was interrupted 10 years after the total crisis of Italian musical culture.
With the stubbornness that is his own, where it would have been much more comfortable to desist, he has continued since 1988 the management of a chamber orchestra (specialized in Classical repertoire with original instruments) in a city and an era in which the music of that type is clearly cataloged among the kinds of total uselessness, even among waste. A luxury that apparently contemporary society can no longer afford, absorbed as it is by virtual emotion technologies and pressing concerns for the fourth week. The Quartettone proposed until 2010 some seasons of concerts in Milan, at the Museum of Science and in the courtyard of honor of Palazzo Litta. (see Concerts)
What about teaching, the main and most stable of its activities? Even here, only a naive and illusory weltanschaung in which music could still play a role in the formation of socially positive individuals, non-violent, lovers of beauty and discretely educated, or cultivated in the practice of art and collaboration, may be the explanation of the fact that three whole days of his week are regularly dedicated, from September to June, to this very unprofitable practice. And that in the summer months, instead of lying in the sun, its main occupation is Campus of ensemble music, orchestra and anything else that can justify the presence of teenagers piled sleepless in the dormitories of Italian convents, ready for the stoic presence, in the morning next, to the orchestra rehearsal ...
We find among the current dedications also a trio, or rather a Classic Italian Terzetto, last in chronological order among the various chamber music experiences that have dotted the last 30 years of activity. A trio where the violin or viola are placed between the guitar and the flute, strictly vintage, for a guided tour in the early nineteenth century. Another obvious symptom of little adherence to the present and to the concrete.
Finally, soccer is still practiced with joy, despite the bans of the orthopedic surgeons, the prophecies of chiropractors, and the relentless strokes of the witch that are knocked down regularly on a back already battered by acute hernias and lumbago, loss of epidermal sensitivity and obvious postural asymmetries derived from instrumental practice. The football played, the pleasure of the triangle, of the assists, of the overlap, of the overbearing conclusion, the pleasure of building a small universe where some individuals find themselves struggling together looking for synchrony and speed. Aspects that without surprise find themselves identical in musical praxis. The consciousness of the fundamental identity between these activities, or at least their being different manifestations of the same energy, is very old. Formed in the seventies and eighties.
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