a couple of weeks ago I met by chance the announcement that was going to play Steve Jansen in Madrid, and to find out about the event it was discovered that the previous day had Hector Zazou. Two hours later I had tickets and air ticket ready and talked to my brother, who lives in the city to make me a little space for my backpack.
Interparla The 2007 festival is one of those events to justify having come to live so far from home, and check there are things for which the "first world" works. Where else would I see such concerts for € 3 each?
Both concerts were to be direct to music in classic films, which slowly is becoming a genre in itself and that reminds me of when silent films were animated with a guy playing the piano roll ... as more or less equal, but in the XXI century. Zazou
reinterprets "The Passion of Joan of Arc" by Carl-Theodor Dreyer (1928) invites us to take the head of his protagonist through sound: The raw material that is served in this case is only birdsong. Hence the musicalization bearing the name of "A Symphony Bird."
is assumed that the film was burned before its release when I was almost finished and Dreyer reconstructed on the basis of material he had left, which are mainly close-ups, which takes a tremendous intensity thanks to the marvelous performance of Renée Falconetti .
Another theory says that the film Dreyer reconstructed alternate takes to the point that was almost identical to its predecessor. Unfortunately the second version was also destroyed by fire, but later appeared intact after a negative was (re) built by Lo Duca on a version that would be classified as unacceptable by the alterations and mutilations were inflicted on the original.
Finally in 1981, in Oslo, someone found lost in a cabinet a copy of the original version, 1928.
The film is immensely moving and Zazou's work is, call it that, "maddening" to the extent that it manages to get inside the mind of Joan of Arc and her dialogue with God based on electronic manipulation of voices of birds .
The way you relate to the image at any time is harsh and produces a sense of anachronism by the former film contrasted with contemporary electronics, on the contrary, the speeches will enrich and enhance each other and the narrative unity is achieved, is set to a level unexpected and profound in the absence of words (except for some intertitles) and incidental sound that we are so used.
The music speaks to the image, forcing us to a double effort of interpretation: First, the understanding of the image and its modern treatment (do not know film, but the resources I've seen that movie I have not seen in many of its contemporary) and the particular view of history honestly seeking to avoid Manichaeism flights and inquisitorial topics and on the other hand, the exercise of digging in the mind of Jeanne d'Arc led by the amazing sounds that are the language in which heroin communicates with God.
The experience is intense and moving, seasoned with the presence of Monsieur Zazou and manipulation of sound in situ (splendid 5.1)
My second day in Madrid was clouded when I found a sign at the entrance to the theater to put something like as "Steve Jansen will not play today because I have bronchitis, but as in any case would take place as the concert tried to put a good face out of respect for the other two musicians, who, incidentally, did not know.
The original idea came from Claudio Chianura, keyboardist. Jansen had been presented with this same work in Milan, which was released on CD (Kinoapparatom - Medium, 2001) and is now presented with Elsenburg on guitar.
the end it was this duo, acting on the image of the experimental film of 1929 "Kinoapparatom" Dziga Vertov (also known as "A man with a movie camera"). From the beginning Vertov
warns there are no actors or script, that his intention is releasing the movie theater or literature and explore the value itself.
The film begins with a stream of people coming to a cinema and the film that starts on the screen. A portrait of daily life in a Russian city that thought it was Odessa and Moscow trams, bars, sports, accident, factories, work, leisure and motherhood. And among all the activity starring cameraman filming everything as a premonition of a world hipermediatizado. Moving camera on wheels, or animated frame by frame. The camera looks and is in turn watched by another camera, that the final films to viewers in the cinema in a game of mirrors that reaches us through time. Maybe the seats of the theater that I'm more comfortable.
music, improvisations on themes and atmospheres, accentuates the different chapters of the film. I remember quite
parts of instgrumentales Gone to Earth David Sylvian. Long chords and atmospheric guitar and design detailed sound. Some loops, samples of stories in Russian. The images become nostalgic and others, are romanticize.
Unlike the work of previous day's Zazou, music and Elsenburg Chianura is completely tonal, modal or if you will, but based on notions of scale, harmony and rhythm that we are familiar, which makes it much more accessible, although this does not detract in any way.
the end I did not need to come Steve Jansen, and did not know the work before the concert I was completely satisfactory, perhaps not as intense as the previous day, but this may be due to the nature of the work. I congratulate
Interparla festival people and those who finance ... because the twenty cats in there were safe and did not manage to cover catering costs.
Interparla The 2007 festival is one of those events to justify having come to live so far from home, and check there are things for which the "first world" works. Where else would I see such concerts for € 3 each?
Both concerts were to be direct to music in classic films, which slowly is becoming a genre in itself and that reminds me of when silent films were animated with a guy playing the piano roll ... as more or less equal, but in the XXI century. Zazou
reinterprets "The Passion of Joan of Arc" by Carl-Theodor Dreyer (1928) invites us to take the head of his protagonist through sound: The raw material that is served in this case is only birdsong. Hence the musicalization bearing the name of "A Symphony Bird."
is assumed that the film was burned before its release when I was almost finished and Dreyer reconstructed on the basis of material he had left, which are mainly close-ups, which takes a tremendous intensity thanks to the marvelous performance of Renée Falconetti .
Another theory says that the film Dreyer reconstructed alternate takes to the point that was almost identical to its predecessor. Unfortunately the second version was also destroyed by fire, but later appeared intact after a negative was (re) built by Lo Duca on a version that would be classified as unacceptable by the alterations and mutilations were inflicted on the original.
Finally in 1981, in Oslo, someone found lost in a cabinet a copy of the original version, 1928.
The film is immensely moving and Zazou's work is, call it that, "maddening" to the extent that it manages to get inside the mind of Joan of Arc and her dialogue with God based on electronic manipulation of voices of birds .
The way you relate to the image at any time is harsh and produces a sense of anachronism by the former film contrasted with contemporary electronics, on the contrary, the speeches will enrich and enhance each other and the narrative unity is achieved, is set to a level unexpected and profound in the absence of words (except for some intertitles) and incidental sound that we are so used.
The music speaks to the image, forcing us to a double effort of interpretation: First, the understanding of the image and its modern treatment (do not know film, but the resources I've seen that movie I have not seen in many of its contemporary) and the particular view of history honestly seeking to avoid Manichaeism flights and inquisitorial topics and on the other hand, the exercise of digging in the mind of Jeanne d'Arc led by the amazing sounds that are the language in which heroin communicates with God.
The experience is intense and moving, seasoned with the presence of Monsieur Zazou and manipulation of sound in situ (splendid 5.1)
My second day in Madrid was clouded when I found a sign at the entrance to the theater to put something like as "Steve Jansen will not play today because I have bronchitis, but as in any case would take place as the concert tried to put a good face out of respect for the other two musicians, who, incidentally, did not know.
The original idea came from Claudio Chianura, keyboardist. Jansen had been presented with this same work in Milan, which was released on CD (Kinoapparatom - Medium, 2001) and is now presented with Elsenburg on guitar.
the end it was this duo, acting on the image of the experimental film of 1929 "Kinoapparatom" Dziga Vertov (also known as "A man with a movie camera"). From the beginning Vertov
warns there are no actors or script, that his intention is releasing the movie theater or literature and explore the value itself.
The film begins with a stream of people coming to a cinema and the film that starts on the screen. A portrait of daily life in a Russian city that thought it was Odessa and Moscow trams, bars, sports, accident, factories, work, leisure and motherhood. And among all the activity starring cameraman filming everything as a premonition of a world hipermediatizado. Moving camera on wheels, or animated frame by frame. The camera looks and is in turn watched by another camera, that the final films to viewers in the cinema in a game of mirrors that reaches us through time. Maybe the seats of the theater that I'm more comfortable.
music, improvisations on themes and atmospheres, accentuates the different chapters of the film. I remember quite
parts of instgrumentales Gone to Earth David Sylvian. Long chords and atmospheric guitar and design detailed sound. Some loops, samples of stories in Russian. The images become nostalgic and others, are romanticize.
Unlike the work of previous day's Zazou, music and Elsenburg Chianura is completely tonal, modal or if you will, but based on notions of scale, harmony and rhythm that we are familiar, which makes it much more accessible, although this does not detract in any way.
the end I did not need to come Steve Jansen, and did not know the work before the concert I was completely satisfactory, perhaps not as intense as the previous day, but this may be due to the nature of the work. I congratulate
Interparla festival people and those who finance ... because the twenty cats in there were safe and did not manage to cover catering costs.
