Franco Margola e la seduzione dell'arché

Whit this critical path, I set out to analyse a particular aspect of Franco Margola’s (1908 – 1992) compositional style. The epic component of his very personal mythological cosmos becomes a transformation operation object where the reality is a refractions and allusions intense play part. The Concerto per la candida pace per grande orchestra e voce recitante (1959), on Tibullus’ text, placed chronologically in the second Margola’s period, puts itself like a literaries images intense array. Tibullus’ elegy I, X, through which Margola re-thinks the war mith, causes a narratives archet ypes short circuit that, giving a treatment lines upsetting, produces a ritual path where music and drama take turns. The concert iliadic prologue, narrative construction first block, takes form like a powerfull fresco that describes, according to a programmatic idea, the armies sanguinary and decisive collision. The orchestral writing, recalling the omeric teichoskopía famous literary tópos, indicates, in its complete visibility, the hero stay inside the fabula. Will be the silence to the prologue end, the drama zero time, to introduce, without metric wine, a reciting voice dramatic vocalit y that will determine Margola’s ulyssid sharp contact with the reality. The dramatis persona is here a narratives planes complex intersection fruit where Margola’s ego, overlapping the elegiac ego, throws an extradiegetic glance on a battle from where emerges a divided kléos voice, that informs epically the h ypertext. In the narrative construction fourth block, in counterpoint at the prologue heroic épos dythirambic rhythm, the ulyssid performs his nóstos in a demythicized world. Frontier section where poetic language genius, exploring the threshold greek methaphor, produces a narrative time where it’s no more possible to see the heroic death like a hero distinctive bearing.