Since early that cinema called the music for the track, even when he was dead.
Pianists, small chamber groups and orchestras accompanied the noisy projections of the movie starts. Gramophones or working, with great successes of classical music to hold the viewers, to give other dimensions to images, adding movement to give emotion supplements to ribbons. In 1927, with the film Jazz Singer and the sound film to be installed in the rooms, cinema discovered the spoken word. And to silence began to be used as an expressive element when once seemed only an absence, a technical impossibility.
The music had definitely entered the tape and, now, one could speak of a “band sound “, which was after all no more than one part of the film, so important as the moving image. Music companion of the images, to carry her emotions, but not limited to: music could now comment, saying the opposite of the images, do ironies, play with the movements, suggest crimes, create suspense, suggest what they thought or felt the characters create environments for comedy, horror or adventure.
This year’s edition of The Days of Music revisits, through music, a bit of this whole story that still seems very much alive. In some cases, suggesting that we listen to music while we see images, film clips or live to music full-length movies. But in addition to several shows “multimedia”, there are simple concert “just to hear”. On the one hand, giving hear compositions written specially for the film:. Orquestra Metropolitana Académica, for example, will play works by Darius Milhaud, Shostakovich and Copland, classical music composers who were enthusiastic about the film
Later, Bernard Herrmann Mikis Theodorakis to, Nino Rota John Williams, many other composers have created scores for films that are up to, in some cases, better known by the music than by any other of its elements. Concert dedicated exclusively to one composer (such as the quintet of Richard Galliano for Nino Rota’s music) or several, as is the case of Mario Laginha the piano concerto, reinventing themes of Ennio Morricone to Bernard Sassetti.
But you can also hear many works that have not been composed specially for the film. Traveled “in there” and now turned out – are they still the same …
The opening concert on Friday night, with the Metropolitan Orchestra, begins with the famous chord Richard Strauss ( Thus Spoke Zarathustra , have the movie 2001- A Space Odyssey , Kubrick, made famous), to follow with Rachmaninov. The Gulbenkian Orchestra will play on Saturday emblematic works of Beethoven and Rossini, often used in films. And the next day, works of Wagner and Elgar. On Saturday night, John Paul Santos runs ahead of the Portuguese Symphony Orchestra sheet music of Prokofiev for Alexander Nevsky , Sergei Eisenstein, work considered by many one of the strongest moments of the encounter between composer and director. The Portuguese Youth Orchestra, directed by Pedro Carneiro, play Stravinsky and Barber. The closing concert is in charge of the Portuguese Symphony Orchestra, and includes, among others, works of Korngold and Bernstein, to end the arch-famous music of John Williams for Star Wars , which will be certainly a great closing party for the end-of-week in Bethlehem.
In the endless world of music in film, there is also room in the Days of Music for many works by composers who did not dream that would have a new life in the theater, inspiring filmmakers, designing characters, which implies giving new qualities to the filmed spaces, creating environments, suggesting dramas. Mozart, very Mozart, and Bach, Bach immense, including Ludwig Ensemble concert (“Bach goes to the movies”) and an interesting proposal for Pedro Burmester, playing the piano works of Bach that were used by Pasolini in his films, accompanied by Italian director’s film clips. The piano also finds a prominent place in the Music Days, as usual. The concert for two pianos of Mozart will be played by Artur Pizarro and the Slovenian pianist Rinhald Zhok (with the Portuguese Chamber Orchestra), and the next day do a duet entitled “Cartoons for two pianos.” António Victorino D’Almeida joins Luiz Avellar (piano) and Paulo Jorge Ferreira (accordion) for an impromptu from themes of The Godfather, La Strada, Casablanca and Amélie . John Paul Esteves da Silva will make an appointment unlikely to back movie songs with the singer Ricardo Ribeiro. Stéphan Oliva proposes a very original recital with music of “film noir” … and beyond.
Many other concerts offer less obvious choices, lesser-known works or conjugations and unlikely encounters, such as playing Couple Coffee songs An American in Paris , of Vincente Minnelli. Or, in another very different field, the trio of Francisco Sassetti, Mário Franco and Vera Morais (piano, bass and flute) playing themes and songs of Portuguese cinema from the 30s There are indeed, room for many different songs, the slight song the opera (that cinema dated or “swallowed” eagerly), operetta to jazz (Mario Laginha reappears with the Big Band Junior, for example), from classical to early music (yes, there is also Vivaldi or Marin Marais Tous les matins du monde ). All this in addition to films ( Mary Poppins to Clockwork Orange or Chaplin Visconti), conversations, activities for younger and younger, as is usual this celebration of music in the Belém Cultural Centre.
What happens when the music comes out of the movie theater and go to the concert hall? And conversely, when the music was born to film becomes autonomous as a concert piece? How to survive? What new lives have? There will be many different answers to these questions n’Os Music Days, a festival that makes the ears. This year is also done with eyes -. With the movies, or just wondering with music
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