With the presentation of an essay signed by Tino Sorino, the ‘Giovanni Paisiello Festival’ of Taranto remembers Nino Rota, who began his long stay in Puglia in the Ionian capital. Of the book ‘In the intimacy of Nino Rota. Browsing three more Prudenzina Giannelli papers‘(NeP Edizioni), we speak today, Friday 14, at 18, right in the ‘Paisiello’ Conservatory where Rota taught at the beginning of his teaching career. At the meeting, coordinated by Daniela Gerundo degli Friends of Music “Arcangelo Speranza”the association that organizes the Festival with the support from the Ministry of Culture and the Municipality of Tarantothe author, the director of the musical institute, Gabriele Maggi, and another expert of Rota, Nicola Scardicchio, who was also a pupil of the great musician, intervene.
In the full-bodied volume, Sorino remembers the Ernestina Rinaldi’s worries about her son Nino, who without her knowledge decided from Milan to compete for teaching at the ‘Paisiello’ Institute in Taranto. And at the end of the thirties he tells it in a letter, saying that he has never heard Nino so far away, not even when, pushed by Arturo Toscanini, he went to perfect himself in the United States, where forty years later he will win the Oscar for music. of the ‘Godfather Part II’. After the American experience Rota could go anywhere, but he chooses Puglia. And at the end of the Thirties he arrives in Taranto, where he begins to frequent the Albano family, to whom we owe the foundation of the “Arcangelo Speranza” Friends of Music, an association that this year reached the milestone of one hundred years.
Meanwhile, Rota makes many other friends in Bari, where he moves when Italy has not yet entered the war. In the capital Rota will take over the fate of the Liceo Musicale, which he himself led to conquer the title of Conservatory. The musician settles in nearby Torre a Mare, where during his long stay he writes the opera ‘Il Cappello di Paglia di Firenze’, the soundtracks of ‘Napoli milionaria’ and ‘Filumena Marturano’ for Eduardo de Filippo and those of many films, including ‘La strada’ and ‘I vitelloni’ by Fellini and, precisely, ‘The Godfather’ by Coppola, part one and two.
He arrived in Torre a Mare in 1939, and after having cultivated an intense friendship with Giacomo Borracci, one of the leading exponents of the school of the esotericist and hermeticist Giuliano Kremmerz, Rota began to frequent the pharmacist Prudenzina Giannelli, to whom he often entrusted the first listening. of many of his compositions, as Sorino tells in his book (the second on Rota), in which he describes the composer’s Apulian years through the documents (postcards, notes, messages, photographs) found in the Giannelli archive thanks to his niece Vilia Muto. An archive from which a more secret Rota emerges, whose passion for Hermeticism and the magical world fits into the reality of the bourgeois families of Puglia at the time, returning the image of an artist taken by a thousand things, but capable of carve out moments of intimate spirituality.
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