Joe Schievano signs the soundtrack of the docufilm “Titian: The Empire of Color” just a month after his debut with the multiart play “Cielo e Carne, Pasolini poems in performance” and while his column for the docufilm Agua Nas Guelras enters in various festivals including Mexico, Los Angeles and Portugal.
The film is the result of a joint work of direction by Laura Chiossone and Giulio Boato and the soundtrack is entirely composed by Joe Schievano, a well-known composer in the realm cinema and independent cinema.
In digital stores, the soundtrack album, published by the Octopus Records label, is available from the 1st October with the title “Tiziano. The empire of color
The docufilm traces almost a century of the life of Tiziano Vecellio, a boy who, at the beginning of 1500, descends from his mountains in Cadore towards a magnificent and unique city like Venice to become “the most excellent of those who have painted”. The scenes ring the episodes and stories of the extraordinary artist and brilliant entrepreneur of himself, as innovative in the composition of a work as in knowing how to sell it, who in a few years became the official painter of the Serenissima and the highest artist sought after by the richest and most famous courts. of Europe, recreating atmospheres and impressions.
Composing this soundtrack was a very interesting and enriching challenge for me, also given the large amount of music that extends throughout almost the entire film and which is spread over multiple genres and styles, but linked by the fil rouge of the narrative.
I meditated for a long time on the palette of sounds and instruments to be used so that the music was a vehicle of emotion, but also a connection and contextualization between the various moments in Tiziano’s life, which span almost a century ”declares Joe Schievano.
In fact, the column is a riot of colors: the percussions that recall Venice’s ties with the East, the unique movements of water and light of the lagoon city obtained with special instruments such as the glass harmonium, medieval echoes along with female voices.
Precisely the feminine, a theme so dear to the great painter in the wonderful representations of him, is also highlighted musically with lyrical dystopian voices between moments of ecstasy but also of pain. And again the particular use of the arches, with “Vivaldian” trends but rendered evanescent, as sometimes the painter’s colors.Finally, impressions of contemporaneity, because Venice, after all, was the New York of the 16th century, as evidenced by the presence of Jeff Koons in the film, one of the most iconic living artists of contemporary art, with his vision of Titian so projected towards the future.
In the musical production of The soundtrack for Tiziano: L’impero del colore., Joe Schievano collaborated with Lorenzo Danesin, who dealt with sound design, creating sounds and environments that harmonized with the soundtrack.
The cello parts were performed by Antonino Puliafito (cello at the Orchestra della Fenice) and the violist Alessandra Commisso.
The Orchestration was performed by Maestro Denis Feletto.
The recording was made at Andrea Valfrè’s Magister studio.
The entire music production is byi Soundrivemotion..