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With  the  collaboration  of:    

Present:         Draft  

  Project  management  and  artistic  director  Joan  Font    (Comediants)   Direction  assistant  Jordi  Pérez  Solé   Collaboration  Helena  Moliné  

    La  Vinya  ______________________________________________  Canet  de  Mar  _____________________________________  Novembre  2012


MOZART’S  MASQUERADE     The  show  originates  from  three  very  special,  and  relatively  unknown,  pieces  that  Mozart  originally  composed  for  pantomime  and  ballet   as   a   divertimento   that   illustrates   human   relationships   through   love   and   heartbreak.   Through   his   music   and   notes,   he   demonstrates   his   ingenious  insight  and  timeless  vision  of  the  human  soul.   This  musical  and  drama  proposal  is  divided  in  to  three  separate  parts  each  with  their  own  aesthetic  entity,  and  unified  through  a  lietmotif   surrounding  the  relationship  between  Harlequin  and  Colombina.        Total  length  of  musical  part:  70  min.  Stage  proposal:  70  –  80-­‐  90  min.    

Pantalone  and  Colombina    

 

 

• Music  for  pantomime   (K.446  Vienna,  1783.   • 28  min  divided  in  eight   short  scenes..     • Composed  to  be   performed  for  the  first   Lme  on  Carnival   Monday  in   Redoutensaal  of   HoNurg,  Vienna.  With  a   pantomime,  created  by   Mozart  himself,  in  wich   he  ridicules  part  of  the   nobility  of  the  Lme.    

Ballet  Intermezzo    

• Music  for  Ballet-­‐ pantomime  (K.229c)  Paris,   1778.     • 20  min  divided  in  eight   parts.     • Piece  of  youth,   commissioned  by   choreographer  Jean   George  Noverre,  an   intermezzo  of  an  opera.   Influenced  by  the  French   arrogance,  it  helps  him  to   showcase  his  talent  and   try  to  make  a  name  for   himself  in  the  rich  musical   life  of  Paris.  

Les  peWts  riens    

• Music  for  Ballet-­‐ pantomime  (K.229b/ K.aap.10)  Paris,  1778     • 21  min  divided  in  twelve   parts.     • Composed  in  Paris  also   commissioned  by   Noverre  to  accompany   Piccini’s  opera  “Le  finte   genelle”.  The  criLcs   acclaimed  it  more  than   the  opera.    

2  


MOZART’S  MASQUERADE    

 Scenic  toy  in  three  acts  from  Mozart’s  musical  base,  which  combines  different  worlds  and  aesthetic  languages.    

  Shadows  

 

Puppets  

AcrobaLcs  

   

Magic  

Movement-­‐ dance  

Masks  

   

Objec  and   artefacts  

 VISUAL   MUSIC   SHOW  

Commedia   dell'arte  

Virtual   images  

    Mozart’s  music  moves  us,  provokes  us,  shocks  us  and  teaches  us,  too.   With   great   ludic   and   educational   component,   this   auditory   and   visual   adventure   opens   us   the   door   to   new   musical   expressions   and   immerses   us   into   different   stage   languages;   Commedia   dell’arte,   dance,   pantomime,   magic,   acrobatics,   puppets,   shadows…   and   the   first   silent  cinema.  A  wonderful  Mozartian  journey  through  the  different  ways  of  communication  and  performance.    

 

 

3  


MOZART’S  MASQUERADE    

Passion  for  pantomime   Taking   into   consideration   his   music   and   the   correspondence   between   the   composer   and   his   peers,   we   know   that   Mozart   was   seduced   by   masquerades,   pantomime   and   dance.   He   composed   and   even   liked   acting   in   them,   especially   interpreting   the   fun   and   inventive   tightrope  walker  Harlequin,  his  alter  ego.   Through   his   brilliant,   visionary   and   universal   music,   Mozart   interprets   the   conflicts   and   fragilities  of  human  beings  in  relation  to  love  and  heartbreak,  here  articulated  dramaturgically   through  the  three  pieces.     “Pantalone  And  Colombina”,  Mozart  wrote  the  script  of  the  pantomime  that  ridiculed  a  part  of   the   nobility   of   his   time.   Of   the   original   script   only   the   violin   section   was   preserved   and   Franz   Beyer  reconstructed  the  orchestration,  originally  composed  for  a  string  quartet.    

 

“We  have  presented  our  mask  company   on  the  Monday  of  Carnival  to  the  big   Masquerade.  It  consisted  of  the   representation  of  a  pantomime  that   filled  a  half  hour  break.  My  sister  in  law   was  Colombina.  I  was  Harlequin.  My   brother  in  law,  Pierrot.  A  dance  teacher,   Pantalone.  And  a  painter,  Dottore.  The   idea  of  the  pantomime  and  the  music   were  both  mine.  And  I  can  guarantee  we   performed  it  with  considerable  mastery.”   Vienna,  March  12,  1783.     Mozart's  letter  to  his  father.    

  The  other  two  pieces,  “Ballet  Intermezzo”  and  “Les  petits  riens”,  relate  to  a  stay  the  composer  had  in  Paris,  cut  short   by  his  mother's  death.  They  were  originally  conceived  for  ballet  -­‐as  an  assignment  from  Jean  George  Noverre,  a  well-­‐ known   choreographer-­‐   with   a   strong   presence   of   pantomime   and   interpretation.   It   is   perceived   in   them   the   juvenile   and  danceable  character  of  the  composer.  “Ballet  Intermezzo”  was  found  unfinished  in  the  composer’s  manuscript   which   was   written   during   his   stays   in   Paris   and   Berlin   and   reconstructed   later   on   by   Erick   Smith.   While   “Les   Petits   riens”  was  acclaimed  by   the   critics,   even  more     than   the  opera   itself.  Both  pieces   belonged  to  a   new  trend  known  as   Ballet   of   action   -­‐promoted   by   the   Noverre   and   Diderot-­‐   which   shunned   the   simple   technical   virtuosity   to   fill   the   intervals  during  the  operas,  empowering  the  pantomime  and  the  interpretative  and  plot  character  of  the  ballet.  

4  


MOZART’S  MASQUERADE    

Format      

6  performers     actors/actresses,   dancers  and  acrobats.  

   

VISUAL   MUSICAL   SHOW  

 SMALL  

FORMAT    

With  a  stage  length  of  75-­‐80   minutes  (adding  the   Harlequin’s  links  between   pieces).    

     

         

 

4  musicians     they  are  part  of  the   scene.  

MEDIUM   LARGE   FORMAT  

Perfectly  extendable  to  a  medium   and  large  format,  extending  up  to   90  minutes,  increasing  the  cast  of   performers  and  musicians,  always   with  the  intenLon  that  the  laler   take  part  in  the  scene,  at  least   some  of  them.  

 

 

5  


MOZART’S  MASQUERADE    

Subject     The  main  subject  of  the  show  is  the   conflict  of  love  between  nature  and  civilisation,  posed  by  Mozart  in  the  piece  “Pantalone  and   Colombina”  -­‐of  which  we  respect  the  script  and  this  theme  will  continue  in  the  other  two  pieces.     •

The   nature  is  embodied  in  Harlequin  -­‐alter  ego  of  Mozart-­‐  who  represents  freedom,  questioning  of  rules,  a  “Peter  Pan  attitude”  and   the  fear  of  jumping  into  a  relationship  with  Colombina  which  would  place  him  in  jeopardy.     The   civilisation  represents  respect  for  rules,  security  and  commitment,  which  is  what  Colombina  would  want  to  find  within  love  and   also  Pantalone  -­‐in  a  different  way-­‐,  Pierrot,  Dottore  and  Turkish.  

  This   universal   subject   takes   different   shapes   along   the   three   staged   periods-­‐through   the   evolution   of   technology   and   communication   in   human  relationships  and  with  an  increasing  break  of  the  barrier  of  space  and  time.  From  on-­‐site  to  virtual  communication,  the  relationship   among  the  characters  evolves  along  the  three  periods.  Only  Harlequin,  from  his  playful  distancing  from  history,  will  keep  himself  out  of  the   progressive  virtualization  of  the  relationships  among  all  the  other  characters.          

 

 

6  


MOZART’S  MASQUERADE    

Periods  

 

It  moves  to  the  early   nineteenth  century  with   devices  like  the  magic  lantern,   the  appearance  of  the   telephone,  the  first  cinema   and  new  magical  gadgets  of   fair  stalls.  Musically  evoked   with  the  introducLon  of  the   mechanical  player  piano  of   fairs.    These  developments   lead  to  the  space  crisis,  it   starts  to  be  unnecessary  the   presenLality  in  relaLonships   among  people,  which  opens   the  door  to  immaterial   communicaLon.  It  allows   people  to  be  in  contact  and   communicate  with  each  other   being  in  different  areas.    

"Les  peWts  riens"  

Located  at  the  same  Lme   when  Mozart  performed  it  for   the  first  Lme  in  1783  as  part   of  a  masquerade  of  the   Viennese  Court.  Music   transports  us  to  this  aestheLc   universe  respecLng  the   original  librelo,  where  human   relaLonships  are  physical  and   the  concepLon  of  space  and   Lme  is  in-­‐person.    

“Ballet  Intermezzo”  

“Pantalone  and  Colombina”    

Three  periods  and  three  different  styles  will  illustrate  to  us  the  three  points  of  view  that  will  prove  how  human-­‐beings  are  always  moved  by   the   same   threads   and   desires   through   three   different   types   of   aesthetic   universes;   expression,   movement,   technology   of   the   image,   poetics   around  the  basic  and  universal  subjects  of  love,  heartbreak  and  greed.  All  joined  together  by  universal  and  timeless  comicalness.    

We  place  it  in  a  near  future  of   the  twenty-­‐first  century,  where   technological  development  leads   to  the  emergence  of  a  new  kind   of  relaLonships  among  people.   The  music,  while  respecLng  the   original  score,  also  evolves  and   absorbs  this  technological   nature.  A  new  “liquid”   communicaLon,  with  a  breakup   of  tradiLonal,  spaLal  and   temporal  barriers,  where   presenLality  is  no  longer   necessary.  The  heterogenic   space  arises,  consisLng  of  a   network  of  flows  that  promotes   a  set  of  more  volaLle  human   relaLonships.  Simultaneous,   ephemeral  and  liquid   communicaLon  networks   appear,  but  these  will  never   replace  the  necessary  physical,   in-­‐person  and  real  contact   among  people.     7  


MOZART’S  MASQUERADE    

Synopsis   Along   these   three   pieces   it   is   explained   the   impossible   love   story   between   Harlequin   and   Colombina   whose   father   tries   to   force   her   into   marrying  a  rich  suitor.  Vicissitudes  revolves  around  Colombina's  suitors  and  the  obstacles  Harlequin  tries  to  put  in  place  due  to  his  platonic   love   for   her.   However,   he   is   unable   to   express   his   love   until   the   end.   Harlequin,   as   an   alter   ego   of   Mozart,   is   the   guide   of   three   stories   trying   to  impress  Colobina.  He  will  orchestrate,  guide  and  pull  the  strings  of  the  three  stories  as  an  entertainment  to  finally  achieve  Colombinas  love.    

“PANTALONE  AND  COLOMBINA”    28’  

 

Instrumentation:  it  respects  the   original  style  of  the  score  with  a  new  orchestration:  violin,  violoncello,  transverse  flute,  harpsichord  and,   occasional  elements  of  percussion.  The  musicians  are  also  characters  of  Commedia  dell'arte  that  go  with  the  action.  Occasionally  directed  by   Harlequin,  alter  ego  of  Mozart,  they  both  play  around  simulating  that  they  extemporize/improvise  the  music  as  it  was  done  in  the  Commedia   dell'arte.  

Synopsi:   Harlequin   helps   Colombina,   whose   father   Pantalone   wants   to   give   her   in   marriage   to   the   rich   Dottore,   to   break   this   agreement   and   leave  with  her  Turkish  lover.    

Scenic  concept:  From  the  Commedia  dell'arte  aesthetic  and  a  scenic  game  always  in  three  dimensions,  presence  and  physical  actions  are   enhanced  between  the  characters,  with  classical  masks,  objects  and  puppets  with  a  colorful  universe.  Harlequin  breaks  the  fourth  wall,  guiding   the  story  with  the  complicity  of  the  public,  as  if  he  was  Mozart  himself.  The  spatial  and  temporal  conception  is  material  with  a  physical  and   presently  communication.  The  musicians  are  part  of  the  scenery,  represented  by  some  spatial  element  that  is  representative  of  its  period.  

Characters:   Colombina,   Harlequin,   Pantalone,   Dottore,   Pierrot   and   the   Turkish   with   the   mask   and   the   classical  customes  of  Commedia  dell'arte.  They  represent  what  they  are  in  their  classical  world.  Colombina   is  a  sensual  dancer,  Harlequin  an  agile  character,  young,  smooth  talker,  fun,  who  plays  with  everybody  and   laughs  at  all.  Pantalone  is  an  old  miser  who  wants  to  marry  his  daughter  not  for  love  but  for  money,  Dottore   is   an   aristocrat   gentleman,   rich   and   a   little   bit   “silly”,   Pierrot   is   a   dreamer,   and   the   Turkish   an   exotic   character-­‐extravagant-­‐seductive,  who  is  all  appearance.  

 

8  


MOZART’S  MASQUERADE         Title  

Length  

Synopsis  

1.  Allegro  opening  

3:30  

Argument  between  Pantalone  and  Colombina.  

2.Allegro-­‐maestoso-­‐allegro    

4:00  

Fight  keeps  going  more  and  more  heated.  Dottore  arrives  to  take  Colombina  away.    

3.  Poco  adagio  –  Andante  molto    

2:01  

Harlequin  offers  his  help  to  the  sad  Colombina.    

4.  Adagio-­‐Allegro-­‐Alegro  assaig    

4:53  

Harlequin  prevents  Dottore  and  Pantalone  signing  the  marriage  contract.    

5.  Allegro  maestoso-­‐Larghetto    

3:15  

Dottore  comes  back  ready  to  fight  and  the  handsome  Turkish  appears.    

6.  Allergo-­‐Maestoso      

4:17  

Colombina   is   captivated   by   Turkish.   Dottore   angrily   reacts,   Harlequin   confronts   him   and   Dottore  stabs  him  with  a  sword.    

7.  Alegro-­‐Marcia    

4:37  

They  are  all  shocked  and  reproach  Dottore.  Funeral  march  for  Harlequin.    

8.  Finalle  presto      

1:22  

Suddenly,  Harlequin  stands  up,  making  Dottore  be  portrayed  (as  guilty),  but  this  is  not  enough   to  win  Colombina’s  heart,  who  is  still  captivated  by  Turkish  and  his  magic  tricks.  Final  dance.    

 

         

 

9  


MOZART’S  MASQUERADE     “BALLET  INTERMEZZO”  20’  

Instrumentation:   We  respect  the  score  but  it  gets  impregnated  from  the  beginning  of  the  XIX  Century  with  a  fair  mechanical  player  piano   that   is   added   to   the   violin,   violoncello,   transverse   flute   and   punctual   elements   of   percussion,   such   as   the   tambourine   and   triangle   in   the   original  score.  The  musicians  are  robots  next  to  the  mechanical  player  piano.  

Synopsi:  Harlequin  tries  to  impress  Colombina  moving  the  story  to  beginning  of  XIX  century,  with  the  magic  lantern,  the  first  cinema  and  the   magical  gadgets  of  fair  stall.  With  the  possibilities  of  this  magic  universe,  Harlequin  will  try  to  seduce  Colombina,  clever  deterring  her  from  the   Turkish  and  his  marriageable  pretensions  of  his  father  Pantalone  with  the  Dottore.  However,  she  will  not  be  able  to  avoid  that  Pierrot  takes  her   away.    

Scenic   concept:  The  scenic  game  goes  on  from  the  multiple  magic  possibilities  of  the  shadows,  the  clippings,  the  primary  projections  of  the   magic   lantern,   and   the   images   of   the   first   cinema,   as   if   they   were   paintings   projected   from   a   black   camera.   The   actions   of   the   characters   interweaved   between   the   ones   projected   in   two   dimensions   and   the   presently   ones   in   three   dimensions,   interweaved   through   a   magic,   frenetic   and   fun   game   of   comings   and   goings   of   the   characters  in  these  two  dimensions.  An  allegorical  sample  of  the  new  possibilities  of  the  immaterial   communication  and  of  the  break  of  the  spatial  barrier.  

Characters:  They  are  part  of  a  stall  fair,  keeping  the  role  of  the  previous  piece  but  wearing  suitable   masks  and  customes  for  this  new  aesthetic  universe.  Harlequin  is  a  magician-­‐clown  of  the  stall  fair.   Pantalone   is   the   fair   Master   of   Ceremonies.   Pierrot   is   his   assistant,   knives   shooter   and   fakir.   Colombina  works  with  his  father  Pantalone  as  a  contortionist  and  acrobat.  Dottore  is  the  owner  of   the  stall  fair  and  the  Turkish  character  is  the  strongman  of  one  of  the  barracks.  The  musicians  are   robots   next   to   the   mechanical   placer   piano.   Other   characters   are   the   tamer,   the   bullet   man,   the   charlatan,  the  juggler  and  the  magician.      

 

10  


MOZART’S  MASQUERADE     Title  

Length   Synopsis  

1.  Without  title  (allegro)   00:55  

Harlequin,   from   the   new   space   of   a   fair   stall,   watches   how   the   others   continue   dancing,   but   now   projected   through   the   magic   lantern   and   he   rubs   his   hands   together   with   his   new   plan   to   impress   Colombina.    

04:43  

Harlequin  goes  to  look  for  Colombina  through  the  black  chamber  of  the  magic  lantern  and  seduces  her   with  various  magical  gadgets  and  his  tricks.  Dottore  and  Pantalone  chase  themselves  for  their  contract   break  up.    

3.  Blacksmith  works  (moderato)/  For   the  woman  (allegro)  

02:01  

Pierrot   comes   out   of   the   black   chamber,   sad   at   not   being   able   to   have   Colombina.   Harlequin   advises   him   how  to  seduce  her  in  the  worst  way  possible  in  order  to  ridicule  him.    

4.  A  small  work  (allegretto)/  he  dances   with  another  dancer  (allegretto)   /Larghetto  (andante)  

02:27  

2.  Contradansa  

Harlequin  dresses  up  like    Turkisha,  seduces  Turkish,  they  dance  and  Colombina  gets  angry.  

5.  Pantomime  with  the  stick  (allegro   come  una  cadenza)/  she  asks  him  to   kneel  down  (allegretto).  

Colombina  hits  Turkish  with  a  stick,  although  he  begs  her  for  mercy.     02:15  

6.  Giga  (Ils  dansent  ensemble).  

02:33  

7.  He  grabs  her  by  the  nose  (largo)/   contradansa  (allegro  agitato).  

03:30  

8.  Tambourin.   01:19  

Pierrot  comforts  and  cheers  Colombina  up  with  a  dance.  Pantalone  and  Dottore  join  them.     She  thanks  Pierrot  for  his  gesture,  who  doesn’t  miss  the  opportunity  to  confess  his  love  to  her.     Colombina   gives   herself   up   to   Pierrot   and   they   dance   cheerfully   while   she   becomes   absorbed   in   a   crystal   ball  that  predicts  the  future.  The  others  chase  each  other  in  a  frantic  game.  Harlequin  doesn’t  see  it  clear   and  makes  them  come  in  the  lantern.  

 

 

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MOZART’S  MASQUERADE        

  “LES  PETITS  RIENS”  21’  

 

  Instrumentation:   From   the   parts   preserved   from   the   original   piece   and   respecting   the   punctuation   of   the   score,   we   play   to   imagine   the   musical   universe   of   a   present   future.   A   violin,   a   violoncello,   a   transverse   flute   and   a   keyboard   MIDI.   The   MIDI   effect   creates   a   continuous   electronic  base  that  emulates  the  original  graver  melodic  line  (As  it  is  clearly  show  in  the  piece  5)  and  adds  punctual  audible  effects  that  evoke   the  sounds  of  a  big  futuristic  metropolis  (an  air  tram  passing  by,  the  appearance  of  advertising  holograms...).  

  Synopsi:  Harlequin  weaves  a  strategy  to  deter  and  unmask  Colombina's  suitors,  and  finishes  discovering  the  way  to  achieve  his  hand.   Scenic   concept:   The   characters   move   in   a   projections   and   holograms   amalgam   where   they   relate   and   communicate  virtually,  with  the  feeling  of  a  new  conception  of  the  time  and  a  total  break  with  the  space.  A  liquid   dimension  that  creates  a  scenic  game  as  a  combination  of  different  techniques  and  languages.    

Characters:  They  are  dressed  with  synthetic  and  one-­‐color  custome,   and   a   futuristic   mask.   Harlequin   is   a   bohemian   artist.   Pantalone   an   employer.   Colombina   is   a   dancer   and   Pantalone’s   daughter.   Pierrot   is   Pantalone’s   attendant.   Dottore   is   a   big   businessman.   The   Turkish   is   a   young  swindler  and  a  famous  businessman.      

 

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MOZART’S  MASQUERADE     Title   1.  Opening  

Length  

Synopsis  

03:08  

Harlequin   observes   the   other   character   immersed   in   their   virtual   worlds.   He   approaches   Colombina   but   discovers   that  she  is  only  a  hologram.    

01:13  

Pierrot  gets  dressed  by  choosing  his  clothes  through  a  mirror  as  an  online  wardrop.  Harlequin  advices  him  ironically   to  ridicule  him.    

3.  Gavotte  allegro  

01:27  

Pantalone  closes  deals  with  the  new  Dottore  about  his  daughter’s  hand,  while  they  are  cycling  in  a  virtual  gym.    

4.  Andantino  –  Allegro  

01:25  

Harlequin  discovers  how  Pierrot  explains  to  Colombina  her  father’s  deals  and  she  gets  angry.  Harlequin  feels  sorry.    

01:03  

The   young,   handsome   Turkish   persuades   Pantalone   promising   prosperous   businesses.   Colombina   mistakes   him   for   Dottore.  And  Harlequin  discovers  that  he  is  a  trickster.    

01:14  

Colombina  and  Turkish  make  love  poetically  and  acrobatically  in  a  virtually  idyllic  environment.  Dottore  discovers  it,   after  Pierrot  and  Harlequin  do  so,  too.    

02:15  

Colombina   thanks   her   father   for   the   deal.   Neither   of   them   is   aware   of   the   confusion.   Harlequin   unmasks  Turkish   and   Dottore  is  rejected  by  Colombina.    

8.  Passepied  

00:50  

Pantalone  explains  his  daughter’s  happiness  to  Dottore,  who  reacts  angrily.    

9.  Without  title  

01:19  

Pantalone,  Dottore,  Pierrot  and  Harlequin  let  off  steam  each  in  their  virtual  world.    

10.  Gavotte  

03:35  

Harlequin  shows  in  front  of  everybody  the  recorded  images  of  Turkish  robbing  Pantalone.    

11.  Agité  

00:43  

Turkish  denies  it,  but  Harlequin  takes  a  watch  from  Pantalone  out  of  his  pocket  that  gives  him  away.    

12.  Andante  

01:31  

Everybody  chase  Turkish,  except  for  Harlequin  and  Colombina,  who  thanks  him  and  eventually  they  end  up  together.    

2.  Larghetto  

5.  Vivo   6.  Gavotte  graciose   7.  Pantomime  

 

 

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Mozart's masquerade draft