“MasterClass Sergio Miceli”

The “MasterClass Sergio Miceli” has been set up in Cagliari:
A tribute to the great reasercher of Music for Cinema

Over the last forty years Sergio Miceli (Florence 1944-2016) has given an impetus to film score studies with an absolute dedication: he has been one of the main researchers of film score meant as a language, subject of study and cultural genre of our time.
His loss leaves us with a void that will be impossible to fill, both from the human and the cultural point of view.

The “MasterClass Sergio Miceli”  that will start on November 7, 2016 in Cagliari is an important advanced training initiative – promoted by  Festival Creuza de Mà – Musica per Cinema (at its 10th edition) and organized by Associazione Backstage  – dedicated to the study of cinema score composition and it could only be dedicated to the Florentine musicologist, the first who has contributed, with over thirty years of research, to include the history and analisys of film score in the academic disciplines.   

Cagliari, a city of knowledge and advanced training. New cinema composers are therefore to emerge through a knowledge transfer among Maestros and young musicians, aimed at improving techniques of musical dramaturgy applied to the “seventh art, constantly evolving itself”.

The “MasterClass Sergio Miceli”– that has the priviledge to have Maestro Ennio Morricone as honorary President and featuring a different renowned composer  every year – in its first edition is to be held by one of the most original and emblematic authors of cinema score: the composer Franco Piersanti.

Two phases are envisaged: the course is scheduled for November 7-12, 2016. The six training days, to be held at the Conservatorio di Musica “Giovanni Pierluigi da Palestrina”, will be focused on theoretical and practical aspects: the relationship between director and musician, the work with images, composition, recording, mixing and score editing, the aesthetics and poetics of the cinema score composer, but also the TV score composition, with the study of maestros and classical authors’ scores and writing excercises of short scenes to be musically developed.

At the end of the course, film sequences will be given to participants to compose the background music. A qualified selection panel, featuring Franco Piersanti, the director Gianfranco Cabiddu and the musicologist and author of soundtracks  Riccardo Giagni, evaluates the pieces of music.

The five best compositions selected by the panel will be performed live on December 11 at the Auditorium del Conservatorio by a chamber ensemble from Cagliari Conservatory, directed for the occasion by Piersanti. During the final concert the initiative will be sealed by the participation of Ennio Morricone, Franco Piersanti, the musicologist Antonio Trudu, the composer and musicologist Riccardo Giagni, the musicologist Renata Scognamiglio and the composer Daniele Furlati.

To seal even more the idea of cultural commitment a true Art committee has been established to support it. The committee includes: directors Marco Tullio Giordana, Daniele Luchetti and Alberto Sironi, the editor Roberto Perpignani, composers Carlo Crivelli, Franco Piersanti and Nicola Piovani, the producer Carlo degli Esposti, Piera Detassis who is the President of the Fondazione Cinema per Roma, musicologists Renata Scognamiglio and Antonio Trudu, the music journalist and critic Alberto Dentice, the  Centro sperimentale di cinematografia di Roma and the international competition of music for images “Francesco Angelo Lavagnino”.


Sergio Miceli (Florence 1944 – 2016)
As a true and thorough intellectual (in his youth he had studied painting and art history), moved by a strong civil passion, a proudly secular soul, a farsighted and multidisciplinary mind, Sergio Miceli  leaves a huge void among the various aficionados of music for images: it is also due to him and the amount of works and witnesses he leaves that, nowadays, such aficionados can feel no longer as a peculiar sect, dedicated to an expensive and bizarre hobby, but on the contrary they are a constantly growing community united by sharing score “for” film as a great, unique cultural heritage of our time.
Miceli has broken the dull and tough taboo applied by “official” musicology to film scores, analyzing, in addition to the most tipically linguistic part of it, also the psychological, historical and structural ones, in a broader multicultural vision. He was a man with a complex, meticolous and scientifical character (should you dare to say “score OF films” his light blue glance will glare at you), able to feel huge passions and enthusiastic sympathy as well as ostinate, rancorous exclusions.

As far as publications are concerned, we just mention “Musica e cinema nella cultura del Novecento” – “Music and cinema in the 20th century culture” – (Sansoni 2000), “Musica per film – Storia, estetica, analisi e tipologie” – “Music for films – History, aesthetitcs, analysis and tipologies” – (Ricordi, 2009), and “Morricone, la musica, il cinema” – “Morricone, music, cinema” – (Ricordi Mucchi, 94): in the first two books the observation field width is limited by a strict scientific method and a clear hystorical vision, such that the various theories and applications of music and image can develop in a consistent and smooth way, in the Morricone-focused study it is remarkable to see the intuition and explanatory clarity  Miceli has in detecting in the earliest and seemingly negligible maestro’s endeavours (i.e. his work as a “light” arranger) the seeds of the future, greatest music for cinema composer, in the repeating of some harmonic and melodic organizations, choosing certain instrumental solutions, more in general in the increasingly radical rejection of traditional composition procedures in favour of an innovative impetus, able to keep together, ruled by a single musical and “(aest)ethic” thought Mina and Morandi’s songs, the Nuova Consonanza avant-garde improvisation and Sergio Leone Western films.