Interesting!

I like good movies about music; good movies are rare commodities. Donde Io poddo compra il DVD, Io no posso ver in internet con Inglese subtitolo?

Thanks, if it is an interesting and worthy film and if happen it will not t be able with English subtitle then I most likely still will be able to catch in Boston. Here in Boston we have our “Harvard Film Archive Cinematheque”. The Harvard Film Archive is a film demonstration facility where they run only films that have serious artistic values, not the pop-crap that runs in movie theaters

http://hcl.harvard.edu/hfa/

Some of the catches I got in HFA were absolutely stunning. I do not see the "Lesson 21" in this Calendar for December but it might show up sometimes during the winter. If it is a good file then the HFA would not miss it – they relay know what they do and we in Boston are lucky to have them around.

Yep, the “32 short films about Glenn Gould” was a wonderful film, a classic how the films about musicians shell be done.
It is interesting that there are very few good films about music and there are very moments where cinematograph works “right” with music. I can recall literally a few moments where visual and woundable was working together “really good”; I would hardly name a whole film but just very short episodes. I remember in “Art of Piano” there was a short episode where Alfred Cortot at his late 80s was teaching his student. His play, his face and with his commentaries were like nothing else. (You must have a translation and to follow his every word, and at the very righ time)

twogoodears wrote:

I've been an avid original soundtracks and film music collector for most of my life, and still I didn't find the PERFECT music for a movie... the classic, Alfred Newman's, Rozsa's, Hermann's, Williams', Horner's... them all did a superb job combined with director work, but IMO what really make a film & music connection is when, too seldom, music hints instead shouting at the audience... Nyman's the master, also Jocelyn Pook in Kubrick's "Eyes Wide Shut" and Laurent Petigand in Wim Wenders' "The Wings of Desire"... isn't a case great music comes from almost unknown composers... the director usually got trapped in some obscure music by chance and this very casual attitude is as mysterious as love and gives to these quite common practice an STP-like character and special quality. Sometimes music for films is still composed in an old-timey fashion - i.e. musicians are exposed to several views of film itself to absorb the moods, images, the message the director wished to give, etc. It's like an accelerated exposure to emotions and life which is always behind a melody or a tune... after a sunset or a travel or... well, you got the idea... the process - being a job - is only someway forced. A fascination... and a miracle if something special stands the abuse. ... then we have the skillfull Hollywood's soundtracks composers... they're clever artisans, the "know" how get tears in audience at the proper, right moment... like pressing an "ON/OFF" switch... well, they produce soundtracks. ... but what I tried to suggest above... it's different. It's true, unique, magic... it's music for films.

My “maiden profession” or something that I call the “trade from the times of innocence” was a photographer and I was very much “in tune” to think by visual images. In some occasions, completely consciously (almost like a game) I develop in my head metal visual images that represent music that I hear. In some instances they are not the metaphoric static images but rather the fragments of a virtual film that I would shoot. In some instances those fragments are purely my own script and my own “film” and in some instances they are the most beloved by me cinematic moments from the existing films. What is always very my own is the application of the specific music to the specific cinematic episode of my mind. In some occasions I take it too far and my very precise demand for musical equivalency of my cinematic ideas actually begin to dictate how I would like to have the given piece of music to sound. In fact it is not “too far” but rather exactly where it needs to be in my view (the concept of recomposition that I multiple times mentioned elsewhere) but it is a subject of other conversation.

Anyhow, why I mention it is that if I found a “right” cinematic-musical match (in my mind) with very good grip how cinematic and musical part shell be arranged then I practically always discover that my “perfect match” appears to me too cheesy and too artificial in time. I do not know if cheesy and artificial are right words, I do not know right words. It might be perfect for very short 1-3-5 second episode but then cinematic perception is going on and it has kind of different dynamics then musical perception.  I really respect what people are able to do it, I do not think I can. From what you say this Alessandro Baricco might find a way to maintain the visual and soundable in one abstract substance. It might be very interning if he can do it in duration of the whole film. The longest I have seen and was praying that I shell never stopped was in the mentioned by you Glenn Gould’s film, where they showed the kaleidoscope-like mosaic accompanied the Gould’s Bach partitas. BTW, in some instances good dancing do it to me but it must be only VERY good dancing and it is very had to get by, much more difficult then a cinematic sequence.

Romy the Cat wrote:

twogoodears wrote: I've been an avid original soundtracks and film music collector for most of my life, and still I didn't find the PERFECT music for a movie... the classic, Alfred Newman's, Rozsa's, Hermann's, Williams', Horner's... them all did a superb job combined with director work, but IMO what really make a film & music connection is when, too seldom, music hints instead shouting at the audience... Nyman's the master, also Jocelyn Pook in Kubrick's "Eyes Wide Shut" and Laurent Petigand in Wim Wenders' "The Wings of Desire"... isn't a case great music comes from almost unknown composers... the director usually got trapped in some obscure music by chance and this very casual attitude is as mysterious as love and gives to these quite common practice an STP-like character and special quality. Sometimes music for films is still composed in an old-timey fashion - i.e. musicians are exposed to several views of film itself to absorb the moods, images, the message the director wished to give, etc. It's like an accelerated exposure to emotions and life which is always behind a melody or a tune... after a sunset or a travel or... well, you got the idea... the process - being a job - is only someway forced. A fascination... and a miracle if something special stands the abuse. ... then we have the skillfull Hollywood's soundtracks composers... they're clever artisans, the "know" how get tears in audience at the proper, right moment... like pressing an "ON/OFF" switch... well, they produce soundtracks. ... but what I tried to suggest above... it's different. It's true, unique, magic... it's music for films.          Anyhow, why I mention it is that if I found a “right” cinematic-musical match (in my mind) with very good grip how cinematic and musical part shell be arranged then I practically always discover that my “perfect match” appears to me too cheesy and too artificial in time. I do not know if cheesy and artificial are right words, I do not know right words. It might be perfect for very short 1-3-5 second episode but then cinematic perception is going on and it has kind of different dynamics then musical perception.  I really respect what people are able to do it, I do not think I can. From what you say this Alessandro Baricco might find a way to maintain the visual and soundable in one abstract substance. It might be very interning if he can do it in duration of the whole film. The longest I have seen and was praying that I shell never stopped was in the mentioned by you Glenn Gould’s film, where they showed the kaleidoscope-like mosaic accompanied the Gould’s Bach partitas. BTW, in some instances good dancing do it to me but it must be only VERY good dancing and it is very had to get by, much more difficult then a cinematic sequence. The caT

twogoodears wrote:

I remember Bach's unaccompanied Cello sonatas seen like numbers of different colours and size in space... oooops: loving maths through music?

Interning, I do not Bach's Cello sonatas but it I would then I see them rather as making a sweater. The making uses many dozen threads of different color of wool. All those rolls of different colors, density, saturation and fussiness of wool are erratically spread around the room (and Cat grads them) but they all feed into one experienced knitter who do all that magic to orange the raw material into the organized patterns of sweater texture.

twogoodears wrote:

Rene Aubry and Carolyn Carson were magic in dancing/music almost PERFECT, better right for the moment, matching.... also Meredith Monk's music creted special, haunting blends, like Robert Een's or Laurie Andreson's or David Van Tieghem's.

I am not familiar with them. What I was taking about “dancing” I mean something like this.

http://www.mediafire.com/?3gyld3g1zvk

http://www.mediafire.com/?b4xnxbnzwk9

I it is unarguable that after getting THIS visual experience the Swan Lake’s music will have slightly different associative value.