for flute, clarinet, piano, percussions,
violin and cello,
(Cp., Glock., Ps., Shell Chimes, Tamb. piccolo con corde,
Tt. piccolo o Piatto cinese grande, Trg.)
degree of difficuty: medium
duration: 16’ approx.
year of composition: 1983-1985
I public performance: Cremona, 9.11.1985
Gruppo Musica Insieme - dir. S. Gorli
I broadcasted performance: B.B.C. recording, 21.11.85,
Divertimento Ensemble, dir. S. Gorli
Edizioni Suvini Zerboni, Milano
(the parts can be hired out)
live recording available
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)
Mitofania belongs to a compositional season characterised by euphony. An aura of soaveness is manifest in the author's production towards 1975, and extends until 1983, the year in which Mitofania appeared, one of the last compositions of the euphonic season. From the winter of 1983 onwards the author has progressively taken leave of an acstatic and fairy-tale-like way of writing, to accede to a different organisation of pitches and duration. These now spring from a pythagoric conception of composing based on the discrimination between 'odd' and 'even' intervals and on the implicit 'centre' of these latter. This is a kind of geometricising symbolism that is not satisfied by mere esoteric patterns, however. Mitofania is one of the last pieces that preceded this about-face and testifies to its own being a 'non-preorganised form'. The predilection for an astonished and momentaneous way of writing makes Mitofania the enemy of set and foreseen courses. A diffused anchantment rules in this piece which also makes use of the font of blocked harmony, whose diatonicising attitudes do not burst forth in any 'neo-tonalism', also thanks to the treatment of pitches which,within each harmonic region, do not permit doubling at the octave.
This piece was revised at the end of 1985 and was put into its definitive form.
The sense of Anzaghi's euphonic compositions has been misunderstood. One aspect of Anzaghi's musical philosophy, which is particularly evident in the works written up to 1983, is euphony and the tendency to resolve the compositional blue-print in a dreamy and ecstatic way. Such euphony is not, however, hedonistic. Rather, it is sustained by another of the author's convictions: anguishing instances may, with knowing rhetoric, be efficiently re-directed towards sweet results which, in welcoming anguish itself, show us the 'perverse' side of that emotion. Thus, just as 'reticence' is a rhetoric figure which, no less than hyperbole, emphasises that which is silenced, so an obsessive and mirage-like euphony is one way to testify to an anguished life. Anzaghi sees proof of this in the character of Ophelia (in Shakespeare's Hamlet) who, unlike the protagonist, makes her own desperation speak with a soave and gracious tongue. The title of one of Anzaghi's chamber works is, indeed, Soavodia...