Playfulness, humor, taste for provocation and visionary, along with a whole empirical curiosity, brought the music of Mauricio Kagel, also his most purely instrumental pieces, to gestural and plastic effects, in a word, theater. Variété proposes the participation of the extraordinary French mime and acrobat Jo Bulitt, who grew up in the school of one of the most famous circus families, the Fratellini. His parallel studies in music and choreography made him a brilliant exponent of the "circus-theater" This Concert-Spectacle für Artisten und Musiker represents the magic world of the circus and its entertainers, acrobats, tightrope walkers, contortionists, magicians, prestidigitators, knife throwers, mimes, fire-eaters, tamers, fantasists
The program presents works for a very particular orchestration by Aldo Clementi. Aria (2001) for soprano, viola da gamba and lute was composed in 2001 and commissioned by Rikskonserter, Stockholm. It takes literary and musical elements from John Dowland's song Love stood amaz'd at sweet beauty's pain. Fantasia (1978) for lute is made of several series of fragments as short as possible and with as many different notes as possible. The patterns, always waving between major and minor key, continuously consume the total chromatic material. Different degrees of tension and a simple performing code put the fragments in a different light than their original context: the resulting fleeting and rhapsodic feature suggested the title.
'Over the years a sort of legend grew up around this movie, and it would not be too surprising to imagine that Welles preferred to be the only viewer.'
What we have of the film, shot between 1955 e 1969, is a collection of diverse fragments that vary technically and stylistically, with separate narrative "wedges" following no logical sequence.