||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.
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
> Mehr Licht
> A propos de Palimpseste
> La Musique Contemporaine, La Musique Classique AOL,
Les Nouvelles Saisons de la Danse, le Figaro...
J'aime l'enseignement sous la forme
de stages et de Master class.
Nombreuses Master class en France,
en Inde (Delhi-Bangalore)