Sonate nº 1 “Augenmusik” K505 (VIDEO)

 

 

TECHNIQUE OF THE PRODUCTION:

The pictures of the video Sonate nº1 “Augenmusik” K505 (visual music) are structured according to the Sonata form, composed in a ternary structure: exposition, bridge, development of the theme, bridge, recapitulation and the Coda final. The sound follows the structural dictum, combining the composition of new sound effects with the sound of the ambience of the very place.

The impressions of the Mozarteum in Salzburg like the ambience, and especially the light of the place overwhelmed me and made me imagine a Sonata in a key minor, probably one in A minor. This way I could add the Coda final composed as a small minuet for contrabass. Finally the Sonata gained its definite and aesthetic character with the minuet in A minor accentuating the principal key and the translation of the whole into pictures. Actually, these kind of information might give the video a more technical or anecdotal character. Since I had the wish to reassure myself of my musical education I intended to make a fusion of both fields, each one of them keeping their characteristics in an interpretation.

SYNOPSIS:

The Music transfers us easily into the world of pictures. Many times we hear sounds, songs and other pieces of music and our minds fill up with interpretations drifting by the clouds of our neutrons. Maybe it is much more difficult the other way round, a state of mind in which melodies come into our head when we look at pictures. But sometimes it happens. There are sounds connected with certain images, but there are not like symbols reflecting the sound; they are rather like emotions. But they are not even representatives of what made them generate this noise. These sounds carry emotions along themselves, which are buried and hidden in our memory. They emerge to the surface whenever we enter our mazy auditory systems. Then they carry us to distant places or lock us up in a luminous room where imagination is the mistress of every wall. Doesn’t this sound quite poetical? But is it not the poetry that makes us leaving the prejudging manner behind and enables us to have these feelings? It may be concealed, but it is there, hiding behind a side door. Behind it one might catch a glimpse of a long resonant floor.

The piece “Augenmusik” which signifies visual music is overcrowded with floors. We could walk slowly along these floors and allow ourselves to let our own fantasies ascent between pentatonic scales. Their presence makes us feel like they were creating these pictures by themselves. When we let them go these voices drift all along the dark floor, crossing between the various luminous materials, from one door to another. But our life keeps progressing and as we keep following our path the voices keep on mixing among themselves, getting filled up with our pas every time a little more. One just has to let them go until they make themselves visible. Then they will appear in the far distance only to descent the majestic stairs of our imagination.