Antonella Cresti The last book is a "unique " in the Italian publishing " Fairest Isle, the epic the Electric British folk, Aerostella 2009, whose title is from the " King Arthur" (" King Arthur ") to music by H. Purcell, text by Dryden, XVII century. The book begins by explaining how could it be born, in England, electric folk, because it seems a contradiction, the generally more "traditional" music with "power", so the more modern. Apart from that "folk " - German "volk " whence " völkisch " - means "people" and not "people" or "masses", Cresti begins by explaining that Britain has a history of "fertile contradictions" (ibid., p. 10), where the conservative trend of most of England, where the musical tradition of "popular" has a richness and an extension unknown to us, it blends with the drive to modernity . This dialectic has been unfolding in England and in particular on the relationship marketing / city, all over London, I'd say territory / urban conglomerates , to use a more current terminology. England, to simplify, not London, which usually gets confused. I would say that the instincts of England "real" are very related to "land" and very conservative, worship and interest in nature, there have always been very strong. England has given is the beginning of the industrial revolution whose stigmata now leads the entire globe, is the first response to modernization, which bears the name of Romanticism. The English Romanticism has always had at its core nature. Nature, territory and folk are part of an inseparable triad. E 'wrong to talk of recovery of the relationship with the territory without a parallel recovery of the traditional music "popular", here's a practical lesson from this text and the story. Then, it is true that in Italy, unfortunately, the popular tradition there is much less rich than the English. This, again, is due to the particular English history, where the Celtic roots, though present, although minority in Italy, we have been mixing with the influence of French neo-Latin, on the one hand, with the thrust and the Germanic classical music, of mainly Italian descent, on the other. In short, no more simplifications about the story, especially music, English, a wealth objectively greater than those of other European nations.
the beginning of last century (XX) occurred in England, the "folk revival", which is important, especially for its ideological roots: "Ewan McColl was a fervent Marxist and political activist who tried to oppose a community vision of sound all'affiorante consumerist conception of the musical, it was short, as often happens in Anglo-Saxon countries, a Marxist 'regressive', not at all convinced of the linearity of history " (ibid., p. 19). This opposition, since the beginning of the twentieth century, a community vision to a vision of consumerism seems to me the "figure" constitutive of British folk, who demonstrated a strong awareness from the very beginning, knowing that then characterized. The keystone is that: on the one hand, England was the nation that began
s'evolve Let's see how this "seed" the original understanding that it is not for me to replace reading the book, but only provide interpretations. The second chapter is devoted to relationships, love-hate, between England and America. The third to internal dialectic of British folk, including the "original purity" (p. 35) and the trends that Cresti called "love for the synthesis" (ibid.) and that I'd say "agglutination" in the sense that, around that nucleus aware that much has been said, so he sought an "original purity" as part of the communitarian vision consciously opposed to the consumer, was the upward trend that, around the folk, who wanted to other genres and other stimuli will be aggregated . You arrive on this dual path, this path of "fruitful contradictions", the so-called " wyrd" folk, where " wyrd "is the term ancient Anglo-Saxon origin, where the Anglo-Saxon period is the forerunner of" weird, "which means" fatal "in the sense of things," marked by Fatum, "the old one. There is the same concept that among the ancient Greeks or the Romans, hence the term " Fatum" and not "fate" is what I have just used, voluntarily. Wyrd was, in fact, originally, one of the Norns, similar to our park, was a deity, in short. Here we open the whole issue of neo-paganism, but this speech, complex and by no means unique, but it would take us very far. This, however, gives us an idea of \u200b\u200bthe consideration that the book of Crest propitious.
From this part onwards, he began the study and discussion of the various musical productions, including very recently, divided by groups and solo voices. On this we can only postpone the reading of the book. And 'maybe the part that music lovers prefer, but if you do not have a very clear vision developed by ridges in the beginning, you lose sight of the object, and it becomes a useful handbook of British folk music, the which, however, does not seem at all the purpose of Crest, which has deliberately done all precede a complex reasoning on the cultural roots of British folk and why England, and other European nations, it was the center. We consider this part, as suggested by Antonello Cresti itself as a "journey" in British folk.
could not miss, in such a book, a reference to Tolkien, as well as, perhaps less obvious, that to Tönnies: "For one of the strange paradoxes of history, a text by the sociologist Ferdinand Tönnies (1855-1936) by Title Community and Society (1887) [ the first Gemeinschaft, Gesellschaft the second], so please work that would be levied at the extreme right-wing Italian cultural circles, seemed to have anticipated this singular act of anti-modernist revolt of the young contestants [hippy] then [you know that in Italy these ideas were "right" and "left" followed each other views, this says a lot about the fact that the ideas themselves are neither "right" or "left", at most there are "readings" of the right or left of ideas often similar; my note]: Tönnies theorized fact an irreconcilable conflict between the current corporate form dominated by rationality and the mercantile mentality, and their community, based instead on real sense of belonging (Bonvecchio, Where is the tradition? , p. 15).:
[...] If you look in his Germanic etymon (Gemeinschaft) is gathered, immediately, a sense of union, of communion, familiarity with which, at present, the tracks were lost [...] This feeling connects the individual to something of value: something that transcends it. This transcendence is expressed - without doubt - the adjective Gemein , whose meaning is stronger and more meaningful, in fact, 'universal' "(ibid., p. 39, quotes a passage from Tönnies Cresti, italic Crest itself).
completed the book a whole series of boxes really well made, useful and interesting, for both authors and themes of folk and beyond. I would like to highlight a box, one dedicated to the film "The Wicker Man " (ibid., pp. 76-77), Robin Hardy. It speaks of the original film of 1973, not bad remake with Nicholas Cage. The original film sees the presence of Christopher Carandini Lee, the famous actor. The film is referred to, of course, original, music, folk really, but also for the symbolism. Beyond the history and the weaknesses of that, the movie traces the many uses of "pagans" of "campaigns" that indeed they sometimes have the advantage of something anthropological always take care to take away from the story, which will be maybe a second, more thoughtful, vision. "Commonly labeled as a horror movie, this film is far beyond, that is fabulous fresco of a culture that still, quietly, resists. (...) Between coded references to John Barleycorn, the Green Man and the Sol Invictus stand filmic representations of dances around the maypole (May tree) and the long procession of figures which recognize folklore as a hobby horse. Hardy's sense of proportion is admirable and temptations spettacolaristiche, Grand Guignol, or worse, are kept away. (...) Over the years The Wicker Man has become a topos of a certain underground scene, the Wicker Man Festival is a fixture of summer Scottish "(p. 76).
Without in any way trying to take over these efforts, however laudable, I happened to see, without that then I was able to find it - perhaps canceled, who knows - on youtube a video of those years, he was referring to scenes from processing of that film, even with images of some actor who was in a pub. Beyond this or that fact, in those landscapes in a remote Scottish island could be seen something of the original spirit the true folklore. That something, I did not want it, which is not found more today, where, perhaps, we have built a lot, where a nationalist spirit extends to replace the original link with the territory, in that island, you feel, I repeat, beyond the facts and the plot of the film, something that reminds me of when Pasolini was in Caserta Vecchia, something of the past for real, nothing was built, much less to rebuild.
What we lost our spirit, and we have to tell us openly. You can make good music without it or any music of the past is a high level. But here's the thing: that spirit never meet again? Indeed, as Weber wrote, capitalism has a spirit, which clashed, and wins, the front of the folklore.
Ritroveremo ever that spirit? Or is it lost forever?
the poster answer the hard ...
Andrea A. Ianniello
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