Review of “Frames Dialoghi tra Musica e Arti Figurative” by Marta Dolzadelli, Sinfonica, 2014
Marta Dolzadelli had an interesting and intelligent idea creating a common thread between various musical pieces, very different from each other for characteristics, composers and structure, uniting them under the common inspiration linked to the figurative arts.
So in this CD we find alongside four whims taken from the 24 Caprichos de Goya by Mario Castelnuovo-Tedesco (which open and close the CD creating an ideal circular sense to this art gallery), The Blue Guitar by Michael Tippett, whose three movements are not, unfortunately, so often performed and recorded, Equinox by Toru Takemitsu, inspired by the work of the same name by Mirò. To accompany these already known pieces the pleasant discovery of three other tracks recorded as premiere recording, Im Nable by Marco Ramelli, dedicated to the Japanese-Milanese sculptor Kengiro Azuma, Images of Fear by the Finnish composer Kai Nieminen dedicated to Paul Klee and the Four Aphorisms by Marco De Biasi, phonochromatic compositions taken from the pictorial work of the same author entitled Quattro Movimenti, whose images can be seen in the booklet accompanying the cd.
I would like to summarize this review in some terms like suspension, waiting, sense of space. Marta Donzadelli manages to create a sense of suspension within her own music, taking full advantage of the colors that the palette of her guitar makes available to her. There is a Japanese tradition in the art of calligraphy and painting according to which the painting is only the result, the final gesture of an act, of a tension, of a desire for will, of a spiritual urgency that originates much, much earlier in the mind, in the body, in the hands, in the gesture and in the brush of the artist who finds his rapid, immediate, consequential outburst in the ink and in the colors that lie on a canvas. In this sense the work of art is much more (and much less) than its simple visual aesthetics. It seems to me, as a profane of the figurative arts as I am, to rediscover this same urgency, this creative mechanism, this sense of continuity in the guitar of Marta: his music vibrates even before his fingers meet the strings, in the same way as the air continues to vibrate after his guitar has played the last note. Just as the image painted on a painting continues to exert its strength once the painter has finished his work. All very beautiful, very poetic and intense, an extra star for the song Im Nable, but perhaps it is because I appreciate and know the work of a poetic artist, refined and so immersed in nature as Kengiro Azuma.