A mysterious quid binds sounds to listening. Ideas from a book by Filippo Facci

Marisilio proposes “Mysteries for orchestra”, an investigation that starts from the biographies of the great composers reaching the intimate experience of music. A journey that borders on psychoanalysis, crossing the spheres of the unconscious

Some are mysteries around death, such as those hovering over the last days of Mozart and Tchaikovsky. What was the disease that gave the coup de grace to the already damaged body of the author of Don Giovanni, while he was engaged in the feverish drafting of the Requiem? (in the early 2000s a retired American surgeon, to silence this worm, began to survey the medical theories on Mozart’s death: he came to count one hundred and eighteen). And Tchaikovsky, how did it really go? Did he end his days of him cholera victim or suicide to cover up a sex scandal? For other great composers, the mystery has extended to life itself – and to their image. And one still wonders about Rossini’s retirement from the stage, at just thirty-seven years old and at the height of fame; on the demonic shadows that accompanied Paganini’s extraordinary career; on the insane posthumous connection of Wagner’s music with Nazism (condensed in Allen’s famous Witz in Manhattan Murder Mystery: “I can’t listen to Wagner too much, you know. I already feel the urge to occupy Poland).