a poem looking back in life-in-death
After the happy experience named Musicamimica Musicamimica (2002)¹, a cover of an original sound poem of Enzo Minarelli, the useful collaboration between the poet and the two musicians, Claudio Parodi and Luca Pagani has still gone on producing a new astonishing work. It belongs no doubt to the best tradition of experimentalism, as it is capable of melting the experience of the well known international sound poet, the italian Enzo Minarelli, with two young, skillful musicians able to play many instruments and above all, so sensible to feel the presence of the poetical voice as something concrete, touchable.
1999 Millennium Poem keeps the voice in a prominent position according to the theory of Polypoetry³, one is not allowed to say that herewith there is no theory as the famous Marcel Duchamp’s sentence boasted about Dada. It is true the contrary, during the whole year which was necessary to conclude the work, poet and musicians gathered together monthly at the recording studio³ coming into the room with precise scores and performing projects, more the result of rational meditation than improvisation.
The voice plays the role of the prima donna leading all the elements of the work together, but the music track develops an autonomous line building up an outstanding dialogue with the voice itself. Far from being didactical, the music happily creates a healthy atmosphere round the words.
Sometimes one can say that it is a sound poem he is listening to, but it is not, sometimes it resembles the typical jazz session, but it is not, let’s say that as it is not not a song, 1999 Millennium Poem brings the poetic side of literature first into the world of orality and vocality, and then into the marvelous world of experimental music.
Technically speaking the text, twelve sections English written in 1999, takes advantage of a voyage made by the author from Bologna to Wien and Prague in the1998 summer, and through the flowing of the images of the trip one can see the whole images of a century dying, and at the same time the dawn of the new one. Each section has been reinterpreted by music, where some northern African instruments develop a rare, precious atmosphere, some parts needed such a special treatment that sixteen tracks were not enough to satisfy the esthetical request.
Apart from the high level of the contents, surely shared both by the poetical and musical side, the real common item is the feature of repetition, this extremely important, historical method of composition, from Poe to Hopkins, from Reich to Glass, from Cage to Ligeti, still shows itself in 1999 Millennium Poem, and after so many paths of mutual fusion, after a long going through the roads of the sonorous world, it reaches at the end the same solitary sound of a beach, the end similar to the beginning, in a perfect circular loop.