From the 1st to 13th of October 2018, Dr. Francesco Finocchiaro exposed the FMJ research findings in the form of an Erasmus Teaching Mobility for students in composition at the “F. Venezze” Conservatory Rovigo.
Erasmus+ at the Rovigo Conservatory
GfM 2018
At the Deutsche Gesellschaft für Musikforschung’s annual conference in Osnabrück (25–28 September 2018), the FMJ Project Team presented the latest research findings. The Database of journalistic sources from the silent era (cf. FMJ Archive) deserved special attention.
FMJ Poster at IAML Leipzig 2018
PI Francesco Finocchiaro presented the FMJ Poster at the Annual Conference of the International Association of Music Libraries, Archives, and Documentation Centres, Leipzig, July 22–27, 2017.
7th Heaven at Il Cinema Ritrovato 2018
Frank Borzage’s 7th Heaven (1927), restored by 20th Century Fox and MoMA, was one of the most exciting events at the Festival “Il Cinema ritrovato” 2018. The Orchestra del Teatro Comunale di Bologna performed a new film score written by Timothy Brock.
Francesco Finocchiaro, Seventh Heaven ovvero Il capolavoro ritrovato, “Amadeus”, July 2, 2018
Rosita or The found music
Restored in 2017 by the MoMA of New York, Ernst Lubitsch’s film Rosita has been recently presented at the XXXII edition of “Il Cinema Ritrovato”, in Bologna, in a musical reconstruction edited by Gillian Anderson and performed by the Mitteleuropa Orchestra. The American composer and musicologist reconstructed Rosita‘s score on the basis of a 1923 cue sheet, drawn from the accompanying music by Louis Ferdinand Gottschalk.
Francesco Finocchiaro, Il Cinema ritrovato: Rosita di Ernst Lubitsch recupera le sue musiche, “Amadeus”, June 29, 2018
Il cinema ritrovato 2018
Interviewing Gillian Anderson and Timothy Brock upon their new silent film scores for Rosita (1923) and 7th Heaven (1927). Festival Il cinema ritrovato 2018, June 23 – July 1, 2018, Bologna
Semsterfrüchte 2018
At the Musicological Department’s “Semesterfrüchte 2018”, Elena Minetti performed film music pieces drawn from John S. Zamecnik’s Sam Fox Moving Picture Music (1913-14).
Silent Film Music in the Mirror of Criticism
At the Open Day of the University of Vienna’s Department of Musicology, Francesco Finocchiaro 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.
Book Presentation: Musica e metafora
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.
Book Presentation: Musical Modernism and German Cinema 1913–1933
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.
Filmharmonie. Original Music for Cinema
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.
FMJ at the Musical Moments Conference
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 von Nürnberg (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.
FMJ Project 
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