Avdiovizualni koncert Compagnia d'Arte Drummatica plays Bartosch and Smith/ Audio-Visual Concert Compagnia d'Arte Drummatica plays Bartosch and Smith

Compagnia d'Arte Drummatica je glasbeni projekt, ki si ga je Mario Martignoni zamislil leta 1994, nato pa je zorel zlasti skozi najrazličnejša eksperimentiranja z ritmičnimi strukturami. Šlo je predvsem za ponovno odkrivanje zgodnjih zvokov različnih etničnih tradicij, za eksperimentiranje z zvoki brez pomoči elektronske opreme. Pomemben element tega zorenja je bila improvizacija, ki danes predstavlja rdečo nit vseh kompozicij skupine, pa čeprav se utegne zazdeti, da so določeni deli glasbe strukturirani vnaprej. Skupino trenutno sestavlja pet glasbenikov, za katerimi je že pet posnetih albumov in lepo število živih glasbenih spremljav k različnim, zlasti eksperimentalnim filmom.


Compagnia d'Arte Drummatica is a project started by Mario Martignoni in 1994 and matured through the experimentation of percussions in different bands. The focus was on the rediscovery of primeval sounds of various ethnic traditions, and the experimentation of sounds without the use of electronic equipment. Another characteristic of this research has been improvisation, which is the guiding force behind all composition, even though some part of it might appear more structured. At present, the project is composed of five musicians who have recorded five albums and performed live music accompaniment to various films, particularly experimental, at numerous occasions.

Glasbena spremljava v živo / Live music accompaniment: Mario Martignoni (bobni, tolkala / drums, percussions), Diego Devincenzi (kontrabas, električni bas, tolkala / double bass, electric bass, percussion), Marco Venturi (klavir, violina, tolkala / piano, violin, percussions), Matteo Gabutti (alt in tenor saksofon, električna kitara, tolkala / alto and tenor sax, electric guitar, percussions), Giovanni Oscar Urso (trobenta, električna kitara, tolkala / trumpet, electric guitar, percussions), Andrea Martignoni (slide kitara, tolkala, objekti / slide guitar, percussions objects).

Compagnia d'Arte Drummatica plays Bartosch and Smith


Berthold Bartosch se je rodil na Češkem leta 1893 in se leta 1920 preselil v Berlin, kjer je kmalu srečal animatorko silhuet Lotte Reiniger; z njo je sodeloval pri filmu Pustolovščine princa Ahmeda. Leta 1930 je Bartosch v Parizu začel z delom na filmski adaptaciji Ideje, knjige lesorezov, ki jo je Frans Masereel objavil leta 1928. Masereel je Bartoschu sprva pomagal, vendar je po nekaj tednih opustil projekt, ko mu je postalo jasno, kako mukotrpno delo je animacija. Bartosch je naslednji dve leti delal sam. Na steklene plošče je s pomočjo neobstojnega črnila in mila izrisal 45.000 podob, ki so jih osvetljevale 100-vatne žarnice. Njegov studio je meril bornih deset krat dvanajst čevljev; polovico prostora so zasedale steklene plošče, ki so mu služile tudi kot delovna miza. Gola ženska v filmu ponazarja Idejo, golo resnico. Ideja pripoveduje zgodbo o njenem rojstvu; o tem, kako je Ideja zavrnjena in prisiljena, da se obleče; kako ščiti tiste, ki hrepenijo po spremembah; kako je natisnjena in posredovana svetu s pomočjo radia in časopisa; kako se naposled vrne k svojemu stvaritelju. Izvirno glasbeno spremljavo je napisal eden najpomembnejših francoskih skladateljev 20. stoletja Arthur Honegger in vključuje rabo povsem novega glasbenega instrumenta po imenu ondes Martenot. Compagnia d’Arte Drummatica se je odločila napraviti novo glasbo za film, ki velja za enega najpomembnejših in najbolj politično angažiranih del v zgodovini animacije.


Harry Smith je bil filmar, slikar, muzikolog, etnograf, okultist, alkimist, založnik in še marsikaj drugega. Navzlic nenehnim finančnim tegobam (večino časa so ga vzdrževali prijatelji, med njimi Allen Ginsberg) mu je uspelo posneti približno dvajset eksperimentalnih, predvsem abstraktnih filmov. Magijo neba in zemlje je ustvarjal skoraj deset let, od zgodnjih 50-ih do leta 1962; ena od verzij filma je dolga celih šest ur. Ta neverjetni, v formalnem smislu pionirski filmski kolaž se ponaša s popolno odsotnostjo vsakršne konvencionalne pripovedne niti ali tematike, zato pa se njegov nadrealistični avtomatizem ponuja v nešteto možnih branj. Tej interpretativni »logiki« sledi tudi glasbena spremljava k filmu, ki jo bomo poslušali v živo.

Berthold Bartosch was born in Bohemia in 1893, in 1920 he moved to Berlin, where he later met the silhouette animator Lotte Reiniger. Bartosch worked with her on the film The Adventures of Prince Achmed. In 1930 in Paris, Bartosch started working on the adaptation of The Idea, a book of woodcuts published by Frans Masereel in 1928. Masereel first worked with Bartosch, but after a few weeks he dropped out of the project after seeing how tedious animation was, so Bartosch continued working alone for two years to complete the animation. 45,000 images were animated on sheets of glass with washtinted blacks and soap, with 100 Watts light bulbs illuminating the work. His studio was 10 x 12 feet and half the space was filled with the sheets of glass which were disposed in some kind of workbench. The naked woman in the film represents The Idea, the naked truth. This tells the story of The Idea since it was created, how it is rejected and forced to dress in the world, how it protects the ones that want to make a change, how it is printed and finally presented to the world, trough radio, newspaper etc. and in the end how it returns to its maker. The original soundtrack fot this film was specially composed by one of the most important French composers of the 20th century: Arthur Honegger, using also for the first time a new instrument called Ondes Martenot. Compagnia d’Arte Drummatica has decided to make a new original soundtrack for the film that is one of the most important and politically engaged films in the entire history of animation.


Harry Smith was a filmmaker, painter, musicologist, ethnographer, occultist, alchemist, publisher and more. Despite constant financial problems (he was supported for the most part by his friends, including Allen Ginsberg), he managed to produce about twenty experimental and abstract films. He worked on Heaven and Earth Magic for almost ten yearsm from the early 1950’s until 1962, one version of the film is at least six hours long. This incredibile collage film is completely devoid of conventional storyline and subject matter and its surrealistic automatism can be interpreted in endless possibilities. The same logic of interpretaion has been followed in music accompaniment, which will be played live.

Andrea Martignoni

Ideja / L’Idée

Berthold Bartosch
Francija / France, 1932, 16 mm, 25’


Animirana pripoved o odzivu človeštva na ideale spremlja zgodbo umetnika, ki svoj abstraktni ideal pošlje v svet. Njegov umetniški koncept (simbolizira ga podoba ženskega akta) zavrnejo in izkoristijo oblastniki poslovnega sveta, religije in vojske. Kot jasno nakazuje naslov, Bartosch zaključi, da “ljudje živijo in umrejo za idejo ... Ideja je nesmrtna. Lahko jo zasledujemo, sodimo, prepovemo, jo obsodimo na smrt, a ideja bo v mislih ljudi še vedno živela.” Film temelji na istoimenski knjigi belgijskega umetnika Fransa Masereela, ki jo v celoti sestavljajo lesorezi.


An animated narrative on the theme of humanity's response to ideals, this film traces the story of an artist who sends his abstract ideal out into the world. His artistic conception (symbolized by the figure of a nude woman) is rejected and exploited by the ruling powers of business, religion and the military. As the titles make clear, Bartosch's conclusion is that "men live and die for an idea... the idea is immortal. You can persecute it, judge it, forbid it, condemn it to death. But the idea continues to live in the minds of men." The film is based on a book of the same title by the Belgian artist Frans Masereel, composed entirely of woodcuts.

Magija neba in zemlje / Heaven and Earth Magic

Harry Smith
ZDA / USA, 1962, 16 mm, 66’

Film Magija neba in zemlje (imenovan tudi Številka 12, Magični film ali Magični film neba in zemlje) je prvotno izšel leta 1957, potem pa je bil večkrat ponovno montiran, vse do zadnje različice leta 1962. Osnova za film so izrezane in animirane fotografije. Prvi del prikazuje zobobol junakinje, ki je posledica izgube zelo dragocene lubenice, potem pa obisk zobozdravnika in potovanje v nebesa. Sledi izpopolnjen prikaz nebes v smislu Izraela in Montreala. Drugi del prikazuje povratek na zemljo, potem ko jo Max Müller poje na dan, ko Edward VII posveti veliko londonsko kanalizacijo.


Heaven and Earth Magic (also called Number 12, The Magic Feature, or Heaven and Earth Magic Feature) was originally released in 1957, it was re-edited several times and the final version was released in 1962. The film primarily uses cut-out-animated photographs. The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.