Tirsdag besøkte Ballade-journalistene Tellef Øgrim og Aslaug Olette Klausen igjen studio i Oslo Media House. Vi presenterer BALLADEPODDEN: En podkast for kritikk og samtale om andre temaer fra norsk musikkliv.Podkasten er tatt opp i en stue like ved Tøyen i Oslo umiddelbart etter at britiske Spiritualized,...These moments of course can sometimes happen in mid scene.There is a deliberate knife-edge strategy in this tempo changing, i.e.It is not musical exhibitionism in competition with the film.
Furthermore Chaplin is so much a myth now, and his comedy routines so well known or predictable, that they have no need of the original type of music his films were used to.
In 'The Immigrant', the Russian poetry I have set for the singers (on the general subject of homesickness) creates a sub-plot, with a deliberate distanciation, concerning the implied offscreen fatalism and unhappiness in the characters' lives. The music to 'The Immigrant' is also very distanced from the film.
The only objective connections between music and image are the frequent changes of tempo, which are designed to always happen at a crucially dramatic moment.
I have written a mimetic/frenetic music closer to the general character of the film activity.
This is not tame polite background accompaniment that might as well not be there.
These three scores are virtually unseen, or inverted, opera, and have a rich and diverse subplot added by the singers (and the subtitles).