by Patricia Adkins Chiti
as published in the IAWM Journal, February 1995, pp. 11.
I think the readers of the ILWC Journal will be happy to know that we are now in the final stages of mounting the "Donne in Musica" series. We have put together thirty programmes which cover almost all of recorded history, from the origins of sound and the musicians at the courts of the Pharoahs and in the Sumerian temples up to music written at the beginning of this year. We have music from every conceivable genre: operas, ballets, symphonies, oratorios, chamber music, solo works, choral music, video music, electronic contributions, mixed-media productions and ethno-musical films. There is music from twenty-five different countries and we have dedicated space to composers, conductors, singers, instrumentalists, orchestral players, choral directors and all-women orchestras. The music for the title shots before and after each programme is by Germaine Tailleferre , and the illustrations which have "come to life" within our amazing AVID (the computer which mounts the programmes) are from the series "Vagabondage-Women in Music" by the American/German artist Gertrude Degenhardt.
We have music composed by Hildegard von Bingen recorded in the convent where she once lived, music composed by women troubadours, music composed in Italian convents and courts (including fragments of Caccini's opera) and music from every century thereafter.
Seventy percent of the material was found in the video archives of the RAI (Radio-Televisione Italiana); ten per cent was especially prepared and filmed for the series, including works by Violet Archer, Irma Ravinale, Maria Teresa d'Agnesi Pinottini and Camilla de Rossi; and the remainder was either donated or loaned by individuals, organizations, embassies and some television companies. Thanks to the help given by many members of the ILWC spread around the world, I was able to track down video material, and the amount of film that had to be bought (even if at "minimum time rate") has been very low. Undoubtedly if I had had a larger budget I could have found and bought far more material, but since I started with a "zero" budget, what has been achieved is miraculous.
I have prepared a small number of programmes with an English language commentary; this means that the distribution department of the RAI will be able to send these around the world to other TV stations in the hopes that further airtime will be found for the series. The RAI has also agreed to render the series available at special rates for universities, festivals, symposiums, and so forth. Anyone interested in having further information about the series should write to
the Director,
Terza Rete TV
RAI TV
Viale Mazzini 14
Roma/Italia
Reference: "DONNE IN MUSICA"
I am battling for a "slot" in the early evening instead of that which the Channel proposes, early afternoon. Obviously if the RAI finds itself flooded with letters asking for information about transmission and/or availability of the series, the RAI-and others-may finally realize that something very important and precious has been created.
With all best wishes and thanks for all your help.
Report Addendum: "DONNE IN MUSICA" represented the RAI (Radio-Televisione Italiana) at the edition of MIDEM (Cannes ) Festival in February. Furthermore the sales organization of the RAI, SACIS, has decided to distribute the series world-wide. So I feel as if another little step forward on behalf of women in music has been made.
Patricia Adkins Chiti
Redazione "Donne in Musica"
Roma, 14 October 1994