Dedicated to music in film, editing 2015 of the Music Days, which ended Sunday, attracted a large audience and new viewers, judging by the effervescent who lived in the corridors of the Centro Cultural de Belém, but also by a survey answered by 1,068 people, of which 27% came for the first time the festival. The theme allowed a huge range of possibilities and itineraries, either through the history of music, whether in film history as well as a wide variety of genres and styles: from the works purposely written for the big screen to those born in other contexts and were then incorporated into the film. There also missed the projection of films, the mutimedia shows and activities for young people organized by the Arts Factory.
Up to 17h Sunday 26 646 tickets had been sold, which corresponds to an occupancy rate of 89%, the highest in recent years according to Miguel Leal Coelho, the Board of Directors of the vowel. Of the 64 concerts in room, 35 exhausted. A total of 1,700 musicians, a number that includes professionals and the various schools of vocational education in various parts of the country music that acted in the foyer of the Great Auditorium and Space Free Music, responded to challenge, creating programs that celebrate music in film through the original works, but also arrangements and improvisations. On the one hand the program was too heterogeneous mosaic, had the advantage of addressing all tastes.
On Saturday, the trio of Vera Morais (flute), Mario Franco (bass ) and Francisco Sassetti (piano) and recreated fado songs of the first Portuguese sound films from A Severa and Livestock Bravo , with Frederico de Freitas music and Luís de Freitas Branco, until comedies as famous as White Clothing Village , Maria Poppy and The Coast Castle , whose music is due to composers such as Raul Ferrao and Antonio Melo . An alignment that culminated in the Cantiga Street and was arousing the growing enthusiasm of the public, these melodies that populate the collective imagination won another timbre colorful, but its combination with the display of images in a free sequence , interspersed with projections of gestures of musicians themselves between each piece, turned out to be confusing, since in most cases the music that was heard did not coincide with the film excerpts that had been intended.
However, on Sunday we had an excellent example of synchronization and exemplary of the crucial role that music has in silent movies and film in general: the soundtrack created by pianist John Paul Esteves da Silva and the bassist Carlos Bica to the brilliant comedy The Navigator , of Buster Keaton. The result was exemplary in the way translated the narrative, the thriller , comic, dramatic and descriptive effects (like the storm) or the sound of the little details with suggestive interventions bass, while constituted a coherent whole, with a particular melodic motif, in the manner of leitmotiv associated with the couple protagonist statement Prela shimmering sound of the piano of John Paul Esteves da Silva.
The film is lavish in creating environments from the orchestral music, domain widely used by composers who specialize in soundtracks, but the polyphonic vocal music also appears in many films to characterize historical periods. This was the proposal of the Huelgas Ensemble through a program that showed once again the high level group specializing in repertoires of the sixteenth and seventeenth centuries, for example in the patent excerpts from William Byrd which illustrated the movie Elisabeth , Shekhar Kapur’s, with Cate Blanchett as the protagonist, or the interpretation of the famous Miserere , Allegri, associated with films like Angela’s Ashes and Chariots of Fire . Paul van Nevel group was also revealing the three choral pieces Bruckner ( Ave Maria , The Justi and Virga Jesse ), in which showed cared colorful nuances and wide dynamic palette in close harmony with the expressiveness of the text. Missed but higher cut and phrasing clarity in Ave Verum , Mozart, accompanied by Ensemble Darcos, whose provision in the Song of Jean Racine , Fauré, lacked sufficient cohesion and of trouble.
From Eisenstein to Star Wars
Among the most notable examples symbiosis between music and cinema is the great symphonic choral score that Prokofiev wrote for the film Alexander Nevsky , Sergei Eisenstein. Prokofiev believed that cinema offered new and fascinating possibilities the composer and argued that it should study them in depth rather than simply writing the music, leaving her then at the mercy of film professionals. As such, leave nothing to chance, participating in the assembly process. This great epic that tells the story of a Russian prince of the thirteenth century and the success of his battles against the Teutonic invading hordes – represented by the mighty sounds of metals, while Russia was evoked by archaic flavor of melodies created by Prokoviev to music image Traditional – had a resounding success, as well as Cantata made from the select key sections of the soundtrack. This full score spectacular timbre effects and creator of true musical landscapes, which became especially famous The Battle Ice , said late on Saturday with an interpretation of great consistency and magnificence by the Portuguese Symphony Orchestra at the São Carlos National doTeatro Choir and the contralto Larissa Savchenko, whose timbre eslavose especially well suited to the work, under the direction of John Paul Saints.
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