Composers From Italy

"Io…vorrei che il giovane quando si mette a scrivere, non pensasse mai ad essere né melodista, né realista, né idealista, né avvenirista, né tutti i diavoli che si portino queste pedanterie. La melodia e l’armonia non devono essere che mezzi nella mano dell'artista per fare della Musica, e se verrà un giorno in cui non si parlerà più né di melodia né di armonia né di scuole tedesche, italiane, né di passato né di avvenire ecc. ecc. ecc. allora forse comincierà il regno dell'arte."

"Io non posso ammettere, né nei cantanti, né nei direttori la facoltà di creare, che come dissi prima, è un principio che conduce all'abisso."

"Tornate all'antico e sarà un progresso."

"Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality."

"Avrai tu l'universo, resti l'Italia a me."

"Cette petite composition qui est, hélas, le dernier péché mortel de ma vieillesse."

"Bon Dieu; la voilà terminée, cette pauvre petite messe. Est-ce bien de la musique sacrée que je viens de faire, ou bien de la sacré musique ? J'étais né pour l'opera buffa, tu le sais bien! Peu de science, un peu de coeur, tout est là. Sois donc béni et accorde-moi le Paradis."

"Datemi il conto della lavandaia e vi metterò in musica anche quello."

"Je le prends deux fois par semaine, Haydn quatre fois et Mozart tous les jours. Vous me direz, Beethoven est un colosse, qui vous donne souvent des coups de poing dans les côtes, tandisque Mozart est toujours adorable. C'est que lui a eu la chance d'aller très jeune en Italie à un époque, où l'on chantait encore bien."

"His moral deficiencies as an artist were quite extraordinary. When he found the natural superiority of his genius in conflict with the ignorance and frivolity of the public – and the musical ignorance and frivolity of the Venetians and Neapolitans can hardly be overstated – he surrendered without a struggle. Although he was so able a man that it was easier and pleasanter to him to do his work intelligently than to conventionalize it and write down to the popular taste, he never persevered in any innovation that was not well received."

"Rossini, divino Maestro, Helios von Italien, der du deine klingenden Strahlen über die Welt verbreitest!"

"Rossini, in music, is the genius of sheer animal spirits. It is a species as inferior to that of Mozart, as the cleverness of a smart boy is to that of a man of sentiment; but it is genius nevertheless."

"Music is a kind of harmonious language."

"Aspettate fino alla sera prima del giorno fissato per la rappresentazione. Nessuna cosa eccita più l'estro come la necessità, la presenza d'un copista, che aspetta il vostro lavoro e la ressa d'un impresario in angustie, che si strappa a ciocche i capelli. A tempo mio in Italia tutti gli impresari erano calvi a trent'anni."

"Melodia semplice e varietà nel ritmo."

"Monsieur Wagner a de beaux moments, mais de mauvais quart d'heures."

"Mondrian is the greatest Futurist painter of the North."

"There can be no doubt that Marinetti feared that Futurism was going to be increasingly marginalized in Fascist Italy. He had to think about his own and his movement's survival under a fascist regime and to rescue what he could of an artistic movement which he had built up and promoted for more than a decade. [Marinetti resigned from Mussolini's Fascist Party in 1920]"

"When Marinetti founded Futurism in 1909, he called for ‘incendiary violence’ that might drive Italy and Italians out of the ‘fetid somnolence’ of dolce far niente. He incited Futurists and their allies to the destruction of museums, monuments, and universities—to decimate everything that ‘stank of the past’… All of this was suffused with aggression and violence, with an appeal to slaps and blows, to culminate in an invocation to what he called the ‘beauty of battle,’ and the ‘hygiene of war.’"

"F. T. Marinetti is perhaps the most celebrated example of the kind of writer who lives by his wits and to whom something witty rarely occurs... He has also proposed that Italians replace chic with elettrizzante [electrifying] (five syllables instead of one) and bar with qui si beve [here one drinks]-four syllables for one, and the unresolved enigma of how the plural will be formed. "Our Italian language must not be despoiled by foreignisms!" declares Filippo Tommaso with a Puritanism not unworthy of the aseptic Cejador or the forty stalls of the Spanish Royal Academy. Foreignisms! The old impresario of Futurism cannot abide such mischief."

"I have said that Marinetti was.. ..exceptionally gifted, and I should add that I never saw him twiddling his thumbs even for ten minutes.. ..beside his desk he often kept piles of books in which he would write dedications.. ..invariably with the purpose of spreading the word about Futurism."

"We want to fight ferociously against the fanatical, unconscious and snobbish religion of the past, which is nourished by the evil influence of museums. We rebel against the supine admiration of old canvases, old statues and old objects, and against the enthusiasm for all that is worm-eaten, dirty and corroded by time; we believe that the common contempt for everything young, new and palpitating with life is unjust and criminal."

"It is therefore necessary to prepare the imminent and inevitable identification of man with the motor, facilitating and perfecting an incessant exchange of intuition, rhythm, instinct and metallic discipline, quite utterly unknown to the majority of humanity and only divined by the most lucid mind."

"All this will have left you disposed to understand one of our principal Futurist efforts, which consists of abolishing in literature the apparently indissoluble fusion of the two concepts of Woman and Beauty. This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out,c of which we would like to disencumber literature and art in general."

"And now I am obliged to tell you what it is that clearly distinguishes Futurism from anarchism."

"When will you disembarrass yourselves of the lymphatic ideology of that deplorable Ruskin, which I would like to cover with so much ridicule that you would never forget it? With his morbid dream of primitive and rustic life, with his nostalgia for Homeric cheeses and legendary wool-spinners, with his hatred for the machine, steam power, and electricity, that maniac of antique simplicity is like a man who, after having reached full physical maturity, still wants to sleep in his cradle and feed himself at the breast of his decrepit old nurse in order to recover his thoughtless infancy."

"The compliments you are about to pay could only sadden me, because what you love in our dear peninsula is exactly the object of our hatreds. Indeed, you crisscross Italy only to meticulously sniff out the traces of our oppressive past, and you are happy, insanely happy, if you have the good fortune to carry home some miserable stone on which our ancestors have trodden."

"We love the indomitable bellicose patriotism that sets you apart; we love the national pride that guides your muscularly courageous race; we love the potent individualism that doesn't prevent you from opening your arms to individualists of every land, whether libertarians or anarchists."

"Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands."

"Art deals with profound and simple moods.. ..Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.. ..he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it."

"On 11 October 1908, having worked for six years at my international magazine Poesia, in an attempt to free the Italian lyrical genius that was under sentence of death from its traditional and commercial fetters, I suddenly felt that articles, poetry and controversies were no longer enough. It was absolutely crucial to switch methods, get out into the streets, lay siege to theaters, and introduce the fisticuffs into the artistic struggle.. .My Italian blood raced faster when my lips coined out loud the word FUTURISM. It was the new formula of Action-Art and a code of mental health. It was a youthful and innovative banner, anti-traditional, optimistic, heroic and dynamic, that had to be hoisted over the ruins of all attachment to the past."

"Try to live the war pictorially studying it in all its mechanical forms (military trains, fortifications, wounded men, ambulances, hospitals, parades, etc)."

"The past is necessarily inferior to the future. That is how we wish it to be. How could we acknowledge any merit in our most dangerous enemy: the past, gloomy prevaricator, execrable tutor?"

"Let the divine reign of Electric Light finally commence, liberating Venice from its venal moonlight of furnished rooms"

"In order to win over Paris and appear, in the eyes of all Europe, an absolute innovator, the most advanced of all, I urge you to get to work with all your heart, resolute on being bolder, crazier, more advanced, surprising, eccentric, incomprehensible, and grotesque than anybody else in music. I urge you to be a madman."

"A cry went up in the airy solitude of the high plains: 'Let's Murder the moonlight!' Some ran to nearby cascades; gigantic wheels were raised, and turbines transformed the rushing waters into magnetic pulses that rushed up wires, up high poles, up to shining, humming globes."

"Hail! great incendiary poets, you Futurist friends!.. Hail! Paolo Buzzi, Federico de Maria, Enrico Cavacchioli, Corrado Govoni, Libero Altomare! Let's flee the city of Paralysis, devastate Gout, and lay the great military Railroad along the flanks of Gorisankar, summit of the world!"

"It is from Italy that we are flinging this to the world, our manifesto of burning and overwhelming violence, with which we today establish 'Futurism',for we intend to free this nation from its fetid cancer of professors, archaeologists, tour guides, and antiquarians."

"11. We shall sing the great masses shaken with work, pleasure, or rebellion: we shall sing the multicolored and polyphonic tidal waves of revolution in the modern metropolis; shall sing the vibrating nocturnal fervor of factories and shipyards burning under violent electrical moons; bloated railroad stations that devour smoking serpents; factories hanging from the sky by the twisting threads of spiraling smoke; bridges like gigantic gymnasts who span rivers, flashing at the sun with the gleam of a knife; adventurous steamships that scent the horizon, locomotives with their swollen chest, pawing the tracks like massive steel horses bridled with pipes, and the oscillating flight of airplanes, whose propeller flaps at the wind like a flag and seems to applaud like a delirious crowd."

"THE MANIFESTO OF FUTURISM"

"We had stayed up all night — my friends and I — beneath mosque lamps hanging from the ceiling. Their brass domes were filigreed, starred like our souls; just as, again like our souls, they were illuminated by the imprisoned brilliance of an electric heart. On the opulent oriental rugs, we had crushed our ancestral lethargy, arguing all the way to the final frontiers of logic and blackening reams of paper with delirious writings."

"..a member of anarchist and revolutionary circles, attracted in turn by violent action and by dream, before resolving to dedicate him to painting. [describing Boccioni ]"

"We affirm that the world's magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath – a roaring car that seems to run on grapeshot is more beautiful than The Victory of Samoth-race (1910)."

"While an artist is labouring at his work of art, nothing prevents it from surpassing Dream. As soon as it is finished, the work must be hidden or destroyed, or better still, thrown as a prey to the brutal crowd which will magnify it by killing it with its scorn, and thereby intensify its absurd uselessness. We thus condemn art as finished work, we conceive of it only in its movement, in the state of effort and draft. Art is simply a possibility for absolute conquest. For the artist, to complete is to die."

"..there is no longer any beauty except the struggle. Any work of art that lacks a sense of aggression can never be a masterpiece."

"O my brother Futurists! All of you, look at yourselves!.. ..In the name of that Human Pride we so adore, I proclaim that the hour is nigh when men with broad temples and steel chins will give birth magnificently, with a single trust of their bulging will, to giants with flawless gestures."

"Madness blew so violently on the immeasurable air pump of the circuit, that it took the form of a spiral, rising like a screw to the Zenith.. [describing the Brescia automobile races, in 1907]"

"Idealists, workers of thought, unite to show how inspiration and genius walk in step with the progress of the machine, of aircraft, of industry, of trade, of the sciences, of electricity."

"In the evening I study a fair.. ..if you could see the pomp and luxury of the merry-go-round and the stands and booths. Everything is decorated in Baroque-style, all gold and silver; there are mirrors, fabrics, and electric lightning. By night the whole thing is fantastic and rowdy. First of all I shall make a small picture and some drawings for illustrations."

"The author [Balla] wrote 'Macchina typografica', [his first work for theater, never performed] placed us in geometric order [during a rehearsal in the Salon of Serge Diaghilev, 1916] and with the unfailing grey-rectangular walking stick, directed out machine-like movements and the gestures that we each had to carry out in order to represent the spirit of the single pieces of a rotary newspaper press. I was assigned a 'STA' to be reiterated violently with an arm gymnastically. I felt as if I were in the courtyard of a training barracks. Balla, needless to say, reserved for himself the hissings the onomatopoeias, the most delicate verbalizations, that emerged from his lips intermingled with that memorably Piemontese 'neh' and the uncorking of bottles of Frascati by the incorrigible, bearded Semenoff, which turned everything into an extremely intelligent and amusing grotesque."