Word: vivaldi
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...references to Dante, to Caravaggio (Pasolini once said that he wrote the script completely around the character of the real Ettore Garofolo, whom he saw one day carrying plates in a restaurant "just like a Caravaggio figure"), to Mantegna's "Cristo morto," to Vivaldi, whose religious music provides the backdrop for much of the film. This tension between Marxism and Catholicism, neorealism and symbolic references, is never overwhelming. It enhances each sequence, beautifying that which is most ugly, most tragic, or even most ordinary in a film determined to expose just these elements of Roman life...
...Friday night, Trampler joined Metamorphosen for both Vivaldi's "Concerto No. 3 for Viola d'Amore" and Benjamin Britten's "Lachrymae." While the group itself has evolved, Trampler underwent a true transformation in his two solo outings...
...absence of balance and a conspicuous lack of preparedness marked the Vivaldi. Trampler could only elicit a thin, bare sound from his period instrument even in the most declamatory of the solo passages. Metamorphosen dutifully played the accompaniment--an unusually sharp and pointed one--at exceedingly low volume while Trampler edged along, often missing articulations and intonations. The tuttis, however, brought the booming force of more modern string instruments to bear against Trampler's tiny sound in an almost embarrassing contrast...
...think my music relates to Philip Glass and Steve Reich at all," says Nyman, referring to the two American pioneers of Minimalism, "but it originated from knowing their music. A composer builds on the tradition that's already established. Bach listened to Vivaldi, Vivaldi listened to Corelli, and the roots go back to Monteverdi. There's a common language or attitude...
...there that he learned the power of racial stereotypes. Tall and dark complexioned, Staples noticed he inspired fear in whites when he approached on the sidewalk. At first he sought to reassure them by whistling Vivaldi. Then he found malicious glee in frightening them in a game he called "scatter the pigeons." One night he hid in the shadows, then sprang in front of a white couple: "The two of them stood frozen as I bore down on them. I felt a surge of power: these people were mine . . . If I had been younger, with less to lose...