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Nino Rota; Giulietta degli spiriti

Fellini words about Nino Rota:

The most precious collaborator I have ever had, I say it straightaway and don’t even have to hesitate, was Nino Rota — between us, immediately, a complete, total, harmony … He had a geometric imagination, a musical approach worthy of celestial spheres. He thus had no need to see images from my movies. When I asked him about the melodies he had in mind to comment one sequence or another, I clearly realized he was not concerned with images at all. His world was inner, inside himself, and reality had no way to enter it.

Children’s Songs mainly consists of short songs with simple themes. There is little development in the pieces, which capture a variety of melodies and moods. Corea began writing the first song in 1971.

In the preface of the annotated version Corea stated that he aimed “to convey simplicity as beauty, as represented in the Spirit of a child”.

There are stylistic and structural parallels to the cycle Mikrokosmos, by Béla Bartók, including:

  • use of the pentatonic scales
  • employment of unusual time signatures and cross-rhythms
  • expressing a complex variety of atmosphere in a relatively short time
  • increasing difficulty and complexity through the sequence
  • intention of creator.
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