«Un concert pour l'âme» par le duo Cello DeRosa

Il a suffi du pouvoir évocateur de certains mots et de quelques phrases, pour qu'Enzo De Rosa, pianiste-compositeur, se les approprie et que dans un élan de création, il les transpose sur un clavier noir et blanc.

Ses compositions originales trouvent toute leur ampleur et leur beauté sous l'archet du violoncelliste Dimitry Babich. 

Ensemble, pianiste et violoncelliste jouent une oeuvre nouvelle, qui se situe entre la musique classique et la musique de film, une oeuvre inspirée par les grands auteurs de la littérature, de Shakespeare à Voltaire, en passant par Anaïs Nin et Hemingway.

Le concert, d'une durée de 70 minutes, comprend la musique ainsi que 12 courts extraits littéraires qui seront lus avant chaque pièce musicale par un membre volontaire du public.

If one were to open a great work of literature and notes of music began to flutter above the words, this experience would be the equivalent of Enzo De Rosa’s profoundly human and humanistic CD, NeoKlassic.  

His complex, unexpected yet traditional melodies extract the subtext, the essence, of Peer Gynt, Candide, 100 Years of Solitude, and more. In the process, he raises timeless ideas of love/death, war/peace, youth/age to the sublime.

It’s music as narrator of themes that have driven history, mythology and the arts since the beginning of time, but they are expressed with a graciously crafted rawness at once atonally contemporary and lushly romantic.

There are hints of George Balanchine’s/Paul Hindemith’s brooding and angular The Four Temperaments in Candide, or Kurt Jooss’/Fritz Cohen’s chaotic and dirge-like The Green Table in The Yellow and the Pink. 

Shadings of Shostakovich, Bartok and Stravinsky illuminate passages, especially in The Alchemist.

But Maestro De Rosa never remotely approaches pastiche or appropriation. Each piece is wholly original, crafted from experience, observation and the vagaries of the human heart. 

He exhibits a rare ability to weave the subtle and the tempestuous into an exquisite and elegantly draped fabric of the human condition.

– by Lucia Mauro

Across The River And Into The Trees – A Review

If you question what is the quality of a good music video, the most probable answer that you would receive is – good music.

While this is undeniable, another element that is vital for any good music video is the energy of the artistes performing in it.

When you watch “Across The River And Into The Trees”, you feel engrossed with not just thesoulfulness of the music, but also the energy of the duo performing in it. Created by the Italian musician, Enzo De Rosa, directed by Maxim Riverin, it draws its inspiration from Hemingway’s path- breaking novel of the same name. Enzo is known to draw his inspirations from great literary works and this particular piece is no exception.

In the novel, the protagonist Cantwell who is about 50 years old falls in love with a teenager whose name translates to reborn, Renata is what she is called. Cantwell’s love for Renata is all consuming,gentle and yet fierce. Since he is dying, this love also symbolises seeking youth and immortality. Many say the character of Cantwell is a reflection of its creator, Hemingway. It is interesting to note thatHemingway’s novels are usually based on the Iceberg Theory which means that the key facts float on the surface while something else which could be a sub or even the central plot itself keeps unfolding below the surface, supporting the ensuing structures and completing the symbolisms. They act in oblivion, still stay connected.

Enzo has created the musical piece keeping this central theme in mind. The music is gentle and fierce, indeed. Pulsating with life, it seeks immortality. Sticking true to the essence of the literary piece from which it draws inspiration, the soulfulness of the piano and the melancholy of the cello complement each other in the best possible way.

The visual presentation is simple. There are two characters playing two musical instruments. One is an elderly man playing the piano, played by Enzo De Rosa himself. The other, a young woman playing the cello. The characterizations are in line with the theme of the music. The cello is breathtakingly melancholic. Enzo’s fingers create magic on the keyboard. Theunderstanding and jugalbandi, as we call it in in this part of the world, leaves a lasting impression on the mind of the listeners.

The visualization could have been different, to pull in a larger audience, rather audience from different strata, there could be little bit of storytelling through the video by means of dramatization or story boarding. However, this might not have been the vision of the makers and it did not hurt the video much.

Maxime Riverin is the director; cinematographer and editor of this music video and all the three roles have been played out with the same gusto by him. The editing is crisp. The light and shades are pleasing to the eyes. The camera angles and stylization are urban and classy.