At the Open Day of the University of Vienna’s Department of Musicology, Francesco Finocchiaro and Henriette Engelke talked about silent film music, dwelling on music literature for cinematic use, performative practices, and critical reception. The pianist Elena Minetti played rare mood music pieces drawn from the Sam Fox Moving Picture Music (1913-14) by John S. Zamecnik.
At the International Museum and Library of Music in Bologna, Andrea Battistini and Barnaba Maj presented Musica e metafora: storia analisi ermeneutica (Turin, Accademia University Press, 2017), a collected book edited by Francesco Finocchiaro and Maurizio Giani.
At the University of Bologna’s Department of Arts, Francesco Finocchiaro presented his monograph Modernismo musicale e cinema tedesco nel Primo Novecento (Lucca, LIM, 2017), together with Roberto Calabretto and Daniele Furlati.
In the publishing house Robert Rühle, Berlin, a new film music collection appears under the label “Filmharmonie“. The collection comprises thirty numbers, compositions by Huppertz, Künnecke, Porret, Rust, Becce and others. The publication is edited by Werner Richard Heymann.
Hans Erdmann. Reichsfilmblatt, September 24, 1927.
Between the 1910s and 20s, countless film adaptations of operas originated as the consequence of a true medial competition between cinema and the bourgeois cultural institution par excellence: opera.
The film adaptation of an operatic original cannot be regarded as a mere ‘relocation’ of the stage’s subject on the big screen. The transposition of a music theater work into a cinematic work can be properly framed as a remediation: i.e., the transposition of a source text from its original form of presentation into a new textual system.
The paper focuses on a spectrum of music scenes – from Albert Capellani’s La vie de Boheme (1912) to Jacques Feyder’s Carmen (1916), and from Robert Wiene’s Rosenkavalier (1926) to Ludwig Berger’s Der Meister vonNürnberg (1927) – that represent different and complementary strategies in transposing operatic music numbers to the cinema.
F. Finocchiaro, Arias and Ensembles in the Film Adaptations of Operas: Some Preliminary Reflections, Musical Moments Conference, University of Salzburg, March 8–10, 2018.
“Greta spricht!” – In den 1930er Jahren revolutionierte der Tonfilm das Kino. Doch was bedeutete dieser Umbruch für die Filmmusik? Musikwissenschafter Francesco Finocchiaro sucht im journalistischen Diskurs der Stummfilm-Ära nach Antworten und macht seine Funde digital zugänglich.
At the recent conference Novembergruppe 2018 (Dessau, March 3, 2018), PI Francesco Finocchiaro held a lecture on the role of musical metaphors in the aesthetic reflections that lie at the foundations of abstract cinema. In his paper, Dr. Finocchiaro described Walter Ruttmann’s Lichtspiel Opus 1 as the result of an inherently metaphorical creative process: a painted paraphrase of rhythm and musical phrasing that confers the cinematic work the content and character of a musical piece.
F. Finocchiaro, ‘Der absolute Film’: The Role of Musical Metaphors in the Aesthetic Manifesto of Abstract Cinema, Symposium Novembergruppe, Dessau, March 3, 2018.