27 de junio de 2012

Ars video: The Short Music Video in Early and Classical Music



Title: “Ars video: The Short Music Video in Early and Classical Music”.

Authors:
Úrsula San Cristóbal. Università degli Studi di Milano. 
Rubén López-Cano. Escola Superior de Música de Catalunya.

Abstract:
On rare occasions do we ponder on the ways in which visual and digital culture and the media have impacted the diffusion of the so-called “Classical Music” although this influence is beginning to bear its fruits. The fact is that in the latest decades the production of promotional videos, documentaries and artistic videos has increased, especially in the domain of Early Music.
In their quest to create images for music, these audiovisual artifacts sometimes look like pop music video clips or pieces of Auteur Cinema even if the results prove to be unequal. Despite some very relevant findings, Classical Music has yet to be endowed with its own means of expression and its own visual aesthetic.

In this paper we aim to analyze four audiovisual productions:

-        Luca Marconato (director), Riccardo Minasi (violin, conductor), Musica Antica Roma, Dreaming a King, 2010
-        Olivier Simmonet (director), Cecilia Bartoli (sopran), Giovanni Antonini (conductor), Il Giardino Armonico, Sacrificium: The art of castrati, 2010.
-        Magdalena Kozena (sopran), Freue dich, erlöste Schar, BWV 30, 1999.
-        Matthew Brown (director), Greg Anderson, Elizabeth Joy Roe (piano), Der Erlkönig, 2011.

After briefly characterizing some film styles and reviewing the adequacy of  the current methodology in audiovisual analysis when applied to this particular domain (Nicholas Cook, Carol Vernalis, Paolo Peverini), we will highlight how these proposals have challenged the leery glance that classical music has traditionally cast upon mass media. We will underline some aspects of the media performance in its staging, dramaturgy and the impact it has on our traditional notion of concert. This will allow us to highlight some performative aspects, like the improvement of the audience’s perceptual ability towards conventional concert, the intensification and orientation of their attention towards some little known aspects of the dynamics of musical gestures; or the beautification of the concert into a true artifact in which music is just one element among others, although it is the one with the highest ranking.