This DVD is designed
to explore the interrelationship between
music and visual images and attempts
"to develop the visual aspect of
music from within". The two pieces
of music are very different and a very
different visual approach is made for
each.
In Petrushka, two pianos
are arranged, slotting in next to each
other so that each pianist faces the
other. Each pianist has a percussion
player behind him – each with a formidable
range of percussion instruments. This
alone forms the basis of the visual
scene. However from time to time computer–generated,
abstract, moving patterns of light appear,
sometimes over a picture of the musicians
and sometimes just against a black background.
Filming of the musicians
is sometimes over the stage as a whole
but often is focused in extreme close-up,
perhaps on the eye of a pianist or of
a shoe pressing down on the pedal of
a piano. Other shots would be of percussion
instruments being beaten or hit. One
example is that of a triangle being
struck - although strangely you could
not hear the actual sound of this most
penetrating of instruments!
This version for two
pianos and percussion does not adhere
slavishly to the orchestral edition
but is designed to create a tonal landscape
of its own with the diversity of orchestral
shades replaced by percussive colours.
Petrushka was originally
conceived as a piano concerto, and of
course there are drum rolls between
each act. Thus there is some aesthetic
justification for the use of a piano/percussion
arrangement. On the other hand the orchestral
score contains many subtle effects and
tonal shadings that cannot be replicated
in this new version. Because the ballet
is a particular favourite of mine, I
found it very difficult to forget the
original and I found this Video quite
disturbing in effect. Perhaps however
this is the effect desired! The playing
was very fine, especially in the quieter
passages. Just occasionally the percussion
seemed too dominant for my taste but
no doubt this also was by design. Altogether
this was a fascinating experience in
a cerebral sort of way.
The contrast in Liebeslieder
could not be more evident; it was an
unalloyed pleasure from beginning to
end.
Liebeslieder, played
here in the original version with two
pianists at one piano with a small choir,
is one of Brahms’ most subtle and yet
approachable pieces. It was very much
influenced by his early studies of Renaissance
vocal polyphony.
This performance was
recorded at the historical hall at Regensburg.
The men and ladies of the choir are
shown on two balconies with the pianists
at the bottom. From time to time we
are brought back to see the singers.
However, much of the time, we see various
images; these are mainly of a pastoral
type. For example we see women walking
in a forest, or a river flowing through
the countryside. Sometimes we see close-ups
of various old oil paintings with similar
subject matters. Pretty girls are there
and we see couples walking hand in hand.
The images are chosen to blend in with
the words of the songs and these can
be displayed, in translation, as subtitles.
The whole atmosphere is most pleasing.
The singing and piano playing is exemplary.
The DVD is well produced
with very good flow and sound; there
is a booklet with useful essays on the
aim of the disc and also on the two
musical works.
Arthur Baker
ARTHAUS
100715 [60:00]
