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FireWorks
Concert for Fireworks
Firework, that in baroque epoch - during its maximum splendour
- is called fire of joy and gaiety, it is only the most refined
aesthetic expression of fire's cathartic use, of burning, which
man has always elaborated in his victories or exorcism's rituals.
Thanks to fireworks invention, burning's cathartic and joyful
force reached the top of its splendour. But the fatal meeting
between pyrotechnics and music's art, joining together in a marvellous
mixture of power and grace, happens only two centuries later.
Our job starts from there, basing on that old documented tradition,
in a contemporary reconstruction of a "Fireworks Concert".
Fireworks Concerts, that we conceived in 1981 with a completely
renewed method, is built according to the royal sumptuous entertainments'
model of seventeenth and eighteenth centuries at the main European
Courts:
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when influential musicians (Haendel, Lully) composed symphonies
proper to be played with a pyrotechnic intervention, and when royal
pyrotechnists made the notes precious with their drawings in the
sky, made of shining changing chromatism.
Our job means mostly to recover fireworks potentiality, to return
them back to the same force they had in baroque performance, to
approach them again to "High Culture", to use them as
elements of fusion among different artistic forms, letting fireworks
not only express themselves, but narrate a performance too. Each
musical phrase corresponds with the ignition of one pyrotechnic
stations, or even more, whose fire and shining image last exactly
as long as the time of music. In that way it's allowed to make music
visible, feeling the rhythm of fires and the sense of their changing,
up to the great crescendo at the end of the performance. Fireworks
concert main peculiarities are: a complete use of pyrotechnic potentialities
(fixed and aerial fires), employing at the same time two or more
perspective levels in the drawing of the fire toward horizon; different
stations catching fire simultaneously, with all aerial space consequently
"full"; lack of pauses among fires, which are so wearisome
in traditional performances (here, on the contrary, each second
is filled of one or more fires, following music's evolution); a
great rhythmic, chromatic, scenographic variation.
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