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anne marie fijal
  articles, interviews

  Der brennende Acker - A propos de la musique

When I viewed the film for the first time, it became obvious to me that I would have to treat it as I would the libretto of a six act theatrical opera.

I did not try to go against its dramatic structure, but on the contrary, reinforced it. This is not an epic movie, but rather a tragedy involving the Devil's Field and five characters. Murnau reveals his characters through close-ups, and extremely expressionistic aesthetics to explore spaces, appearances and gestures.

Loneliness, lies, tension and the unspoken are the elements that make up what I like to call a diabolical polyphony that is being inexorably played out. I decided to compose for quintet. This chamber music formation comporting clarinet, violin, cello, piano and percussion, insures that every sound melds with a specific character, and like a shadow follows the passion that binds and destroys each of them. My intention was to reflect the mind and soul of the characters. I tried to put myself inside the film and Murnau's direction, to work with him as if he were alive today.

Anne-Marie Fijal

Tous les articles

> Anne-Marie FIJAL or the open piano, Nancy Huston

> Le Baiser / The Kiss

> Timaios, G.Vincent

> A propos de la musique pour le film de Murnau

> Interview about Queen Jocasta, Sara Nyikus

> Colette Magny

> Rimbaud/Piano

> Mehr Licht

> A propos de Palimpseste

> La Musique Contemporaine, La Musique Classique AOL,
    Les Nouvelles Saisons de la Danse, le Figaro...


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