Attrazion D'Amore/Voyage to Cytheria
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Features
• Classical
• Color
• NTSC
In Theaters : 01 January, 2005
DVD Release : 18 October, 2005 |
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Attrazion D'Amore/Voyage to Cytheria Customer Reviews
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♥♥♥♥♥
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nice juxtaposition Sinfonias
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Again as my complaints on other Scheffer music DVDs are strictly marginal;there should be more of them; the work as a film,a piece of cinema in how Deleuze might see it seems to get trapped in Scheffer's own visual minimal narratives with richly conceived light, colouring,motion,all with points of interest with an overdetermined affinity for water, bodies and concpets of water as a metaphor for the music,anyone's music for that matter and quite abstract but one-dimensional. One-dimensional because the images do not point toward their continuation or their completion;in fact they are abruptly cut non-sequiter.Scheffer's visual language is conservative so such cuts are more an editing demise I suspect.The late Luigi Nono had such similar desires, water as a metaphor for the continuation of timbre,silences as well.
Scheffer wants his interpretation to have full frontal exposure here in an abstract realm where really the content of the music remains untouched,the work never goes to a documentary-like ambience,the cuts are too abrupt and arbitrary and no attempts at analysis of the music a la Bernstein lets say or,as you might find with Boulez,or Gergiev DVDs in rehearsal format.All we then have is a music video,not a conceptual film about the music, or the lifeworld that had surrounded the music. And Scheffer does get into unnecessary myth-building with Mahler.Adorno said really he was no great innovator,and had many blinds spots and false conceptions as a composer or about how to continue a musicial phrase,or develop a musical idea,as Schoenberg's committment to the idea once placed in the world as a composer.What is the musical subject?Here no such reflections are even contemplated. He was a genius pure and simple.I don't think Gustav would have even agreed with that.
But here portrayed then; there is only one movement from Berio's wonderful Sinfonia,a new concpetion of what a Symphony can do, the ends of modernity and the most sought after movement, the collage or assemblage movement with Strauss and Mahler waltzes to wisk one away.Berio really has no equal in the vocal music he wrote in the Fifties and Sixties,and in Sinfonia the array of vocalists who develop a kind of vocal texture, sung, text recitations, percussion sounds, scat singing,is interwoven into the orcehstral density much of it like the orchestrations only for the fascinating textures,most inaudible.Berio had written this movement with the aid of the Catania Library in Palermo that had a limited repertoire of contemporary works, a point of necessity. He simply utilized whatever was there. Berio was a master craftsman,one of the best orchestrators of the post-war generation. Here we see him conducting with shirt-cuffs extending well beyond the tuxedo sleeves, rumpled,and we see him again in reflection in his spartan studio at his writing draftsmens tilted waist-high desk. To me reality has changed to much for this work to ring within a resonance of its political and social perspectives, with grafitti from the May Sixties Rebellions in France,Italy and USA, and the hommage to Martin Luther King, a an etude in sustained timbre that is a separate movement not here.
Chailly then gives a wonderful full exposition of Fifth Symphony of Mahler,and we actually get more rehearsal time with corrections and conceptions of the musicm discussed. This is what a DVD's concept should be, you should come away with a deeper understanding of Mahler in some dimension,not just incidental lifeworld minutae, which does have its points of interests. Chailly also knows he needs to challenge the Dutch musicians that play under him, so he must have a performative concept of Mahler, perhaps one with some new elements and fresh perspectives.Context of the movements is one such concept,not giving into the works danger nostalgia, reverant moments. He does without sacrificing the content of the music. The middle movement Adagio, famous actually is really not a reflection but like a stopping point,a stasis and it is a deeply felt melos in the lower darker first violins where if you play as that, an ode to the passage of time, or one's mother's love will in fact dislodge the movement from what had preceeded it; unfocus the context Mahler was after.For Mahler cannot be takened in isolation,all the motions and gestures reflect on each other,it was his way of dialogue and obtaining tension he could not with say more a chromatic use.Schoenberg was left to develop this. Each movement then must be held in context to each other. Some conductors merely move from one movement to the next as if pop chart of musical fragments and tunes are out for contemplation. Scheffer does have an inventive visual sense as a filmmaker and I think he only at times knows his limitations, where he has for example reaches the ends of his visual vocabulary, the problem is that at that point he can merely reiterate them,he is imprisoned then by his own technique,or lack; the images of water are omni-present for him,movements and shimmerings of glass-like images,swans then (well this is romantic music)also images,icons of ancient places of dry opaque statues,lion-like (representing the timelessness I suppose of the passage of history, time never to be revealed again) as he does in all these DVDs. |
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Attrazion D'Amore/Voyage to Cytheria dvd movie.