{"id":4763,"date":"2013-07-26T15:23:39","date_gmt":"2013-07-26T13:23:39","guid":{"rendered":"http:\/\/www.susyrottonara.com\/fanes-poem-musical-description-song"},"modified":"2017-04-04T15:04:08","modified_gmt":"2017-04-04T13:04:08","slug":"fanes-poem-musical-description-song","status":"publish","type":"post","link":"https:\/\/www.susyrottonara.com\/en\/fanes-poem-musical-description-song","title":{"rendered":"Fanes Poem Musical description song"},"content":{"rendered":"

Fanes Poem Musical<\/strong>
\nThe music in the Musical Poem Fanes tells the legend of Fanes with an emphasized dramatic approach underlined with archaic melodies in an experimental musical style, where present and past, dream and reality are connected to the magic atmosphere of the legend.
\nMost of the songs \u2013see the original Ladin lyrics and the text in English in the section LYRICS\u2013 are monodies where the soprano voice is accompanied by violin, transverse flute, trombone and keyboard with various sound effects.
\nThe soprano voice tells the legend and is at the same time part of it, so that the many sung parts without words represent the mysterious voice of the female supernatural figures of the legend, of princess Dolasila and of the Ganes (nymphs). The sung parts telling about the happenings in the legend should remind of a \u201crecitativo\u201d character while the songs which describe Dolasila\u2019s feelings \u2013\u201cErmes d\u2019 arj\u00ebnt\u201d, \u201cNosc amor\u201d, \u201cLa ciaceda de Ey de Net\u201d, \u201cDolasila dan l scumbat de Prelongi\u00e0 \u201d\u2013 are meant to be \u201carias\u201d with a dramatic accent related to Dolasila\u2019s tragic destiny as she is doomed to fight till death because of the longing for increasing power of her father so that her love for the enemy prince Ey de Net won\u2019t be fulfilled.
\nThere are many correspondences between the structure of the music and the text of the lyrics set to music, particularly evident when the text tells of a direction \u2013f. ex. \u201ccrushing down\u201d \/ \u201csplunfea ju\u201d in \u201cL s\u00ebnn de Spina de Mul\u201d corresponds to a descending interval, \u201cflowers wake up\u201d \/ \u201ccuca su\u201d in \u201cNosc amor\u201d corresponds to an ascending interval, \u201c

[the eagle] high\u201d \/ \u201calalt\u201d and \u201cits strangled cry\u201d \/ \u201csi cich\u201d is represented by a high sung note\u2013 or also when a word describes a place where the legend is set \u2013f. ex. \u201cAurona\u201d in \u201cGanes de Fanes\u201d and in \u201cAurona\u201d is the name of the underground dark reign where there is a big treasure that causes war and death, so that it is described by deep sounds.
\nThe only song in the whole poem in major modality is \u201cLe \u0106iastel de Fanes\u201d (\u201cThe Castle of Fanes\u201d), where the lyrics describe Dolasila\u2019 s happiness as there seems to be hope to fulfil her love for the enemy prince Ey de Net.
\nThe music shows the constant research of a particular style bound to the nature of the Dolomites\u2019 mountains as guardians of ancient myths, where the perception of rhythm and sound is freed from conventional time and finds in the dimension of dream its privileged reality.<\/p>\n
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