CAMILLE - Martegiani, Coclite, Mariozzi

CAMILLE - Martegiani, Coclite, Mariozzi ( ARCLS025 )

Available in: LP, CD, HD File (wav) and CD File (flac)

Tracklist

1 – Acqua (M. Coclite – A. Martegiani) 4.51
2 – Promenade (M. Coclite – A. Martegiani) 4.59
3 – La Vague (M. Coclite – A. Martegiani) 3.49
4 – La Valse (M. Coclite – A. Martegiani) 3.54
5 – L’Âge Mür (M. Coclite – A. Martegiani) 4.47
6 – L’Abandon (M. Coclite – A. Martegiani) 5.04
7 – Persée et la Gorgone (M. Coclite – A. Martegiani) 3.42
8 – Ninna Nanna per Paul (M. Coclite – A. Martegiani) 4.04

Alessia Martegiani – Voice
Massimiliano Coclite – Piano
Francesco Mariozzi – Cello

Recorded on May 19th and 20th 2018 at Cotton Lab Music Club in Ascoli Piceno. Mixed and mastered by Stefano Isola at Arcipelago Studio in Rome between June and August 2018.

Produced by: HD MusicLab Srls
Executive Producer: Rocco Patriarca
Photo: Pierluigi Giorgi
Cover image: Marino Melarangelo
Title writing: M° Manlio Patriarca

Meeting Camille was devastating.
It immediately insinuated itself into the heart, into the soul. Born in the drama, listened to unripe when it was only partly composed, in private, lived and told. But already pulsating with passion, with an emotional intensity that was captivating.

Then the project took shape, convincing, almost forcing with a very tight timeframe, the authors to give it a complete meaning. To make an album, or rather, a Concept Album of classical memory. Eight musical sculptures designed to be represented on vinyl. Alessia and Massimiliano show that they have reached that long-awaited artistic maturity that will lead them from now on to explore new expressive peaks, each in their own language. Francesco accompanied, supported, lived Camille with elegance, with vigor, with passion.

Maybe it's the musical language that makes this album so special. Maybe it's the simple and at the same time lush writing in a language unexpected for our times but very modern, rich in that expression that Stefano Isola, as a perfect tonmeister, has rendered with priceless mastery.

There is a special story in this album, a story made of passions and fears, of glances and hands that intertwine. A story as intense as it is impossible. That leaves its mark.

Enjoy listening.
Rocco Patriarch

It is difficult to say how this work came into being.
It was a period in which my musical inspiration was centered on impressionist music, with soft and veiled, suspended sounds. There was the desire to write with a chamber conception rather than a song, even if the final form was that of the lieder .

In that period I was experiencing a return to the study of Schubert, Brahms, Debussy and these authors inevitably influenced my writing. This is how different material was born, including what later became Acqua , the first song on the album. It was in the same period that Alessia developed her knowledge of the character of Camille. The paths crossed and the readings, Alessia's texts, the visits to exhibitions made me know the figure of Camille better, generating a new creative impetus linked to her figure after entering her world, in the period in which she lived, maintaining the original approach: conceptually chamber music, inspired between the late Romantic and the impressionism of the early twentieth century.

From here came the idea of ​​placing the cello next to the voice and the piano and staying with this idea for the entire project, for which I developed the general concept , the story, which I then translated into the “eight small musical sculptures”. The timbres certainly influenced me and inevitably the timbre of Alessia's voice and the timbre of the cello, two instruments that I thought of as very melodically, very lyrical, had a strong influence during the writing.

Interesting is the fact that the path started from a musical inspiration, to which were added the suggestions of Alessia in the form of literary text, but also the nice surprise of the opposite, that is the musical writing inspired by the texts and based on them, which moreover is a type of conception that should be closer to what was the work of the musician of that period. It is right that the music follows the accents of the text, its intrinsic meaning and the image that can arise from literary concepts and therefore Promenade or Ninna Nanna per Paul , songs written on the text of Alessia, highlight their ability to contribute to the overall sense of the work.

Camille represents a targeted discographic work, a classically slanted project of a completely different nature from my previous works, written for classical instruments and without rhythms. A work with an original concept , with a written and published score, which also offered me the opportunity to intervene as a performer , interpreting my music, alongside excellent interpreters. A work full of satisfaction for each of the elements to which I contributed.

Massimiliano Coclite

Artists' stories are passed down through the centuries through the eyes of other artists.
This is how Camille Claudel was introduced to me three years ago, by the passionate vision of an artist of voice and gesture like Umberto Fabi. Her image grew inside me until it became a daily and dear presence.

But, on the other hand, how can you not fall in love with this strong and fragile woman, with this proud and painful gaze that projects all its sweet restlessness into time with its head held high? Camille Claudel was a sculptor in the glorious Paris of the late 19th century. She was a student of the greatest French sculptor, Auguste Rodin. The two, even before meeting, were linked by the same approach to matter and ideas. Camille became Rodin's assistant, modeling parts of the human body for him, especially hands and feet, and placing her body at the master's disposal, posing as a model.

It was natural for them to fall in love. A love between artists, between equals, between two souls who had gold in their hands. In Camille's, gold soon became a broken dream, loneliness, poverty, disappointment, persecution, madness. Camille Claudel was interred, on the initiative of her beloved brother Paul, in the asylum of Ville-Evrard, in 1913.

My story ends here.

Alessia Martegiani