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電影裡的古典音樂 (今晚在電影院 ) (甜蜜的生活/魂斷威尼斯/曼哈頓/刺激等)
尚-馬克.路易沙達 鋼琴
"At the cinema tonight . . .
And every other day of our lives . . .
‘The cinema is probably the only place in the world where a man can cry, even sob without the slightest shame’, says Jean-Marc Luisada.
Luisada is much more than a cinephile. He becomes a creator himself when he multiplies encounters between music, image and text. Because he is first and foremost a storyteller when he plays the
piano, he is inspired by the stories of the world, from the most banal to the most extraordinary, to enrich his own universe, which he transmits to the audience from the concert platform.
In truth, his own playing – and that of his students for he is one of the most sought-after teachers – is above all ‘retinal’. He captures the vibrations of light, the waves of movement, the dialogues that have become silent on the written page and yet come back to life between his two hands at the piano. Hence we may wonder whether the image is printed on the score or reflected in a series of shots conceived by a film director. The resulting work, projected or published, is implacable in its logic; it invites us on a journey into the ineffable, to the intimate avowal of a Chopin mazurka or a silence in Bergman. Every director, like every composer, is the creator of their own atmosphere, one might almost say of their own scent that clings to the celluloid; and their films, the finest of them, the ones that give you a lump in the throat or make you laugh out loud, distil a unique mood, just like a movement for strings by Mahler. Immortality in not much more than an hour . . .
Every movie accompanies a human destiny. A destiny that can be experienced in a myriad of costumes, languages, locales, and pieces of music: Mahler and Visconti’s Death in Venice, Brahms and Louis Malle’s The Lovers or Andre Delvaux’s Rendez-vous a Bray, Gershwin and Woody Allen’s Manhattan, Wagner and Visconti’s Ludwig, Rota and Fellini’s Casanova and La Dolce Vita, Chopin and Bergman’s Cries and Whispers, Joplin and George Roy Hill’s The Sting, Mozart and John Huston’s The Unforgiven . . .
These moments of drama or delight represent much more than slices of life. They nourish our souls, like the greatest texts; we may remember them only imperfectly, but that doesn’t matter. Pieces of celluloid, pieces of music like this give us faith in the greatness of human beings, in their dreams, in their hopes, sometimes disappointed, but often thrilling. "
1 - La Dolce Vita (Federico Fellini, 1960) · Nino Rota - Theme principal / Main theme
2 - Mort a Venise / Death in Venice (Luchino Visconti, 1971)· Mahler - Symphonie n°5 : Adagietto
3 - Le Vent de la plaine / The Unforgiven (John Huston, 1960)· Mozart - Fantaisie en Re mineur K.397
4 - Les Amants / The Lovers (Louis Malle, 1958)· Brahms - Theme et Variations en Re mineur
5 - L’Arnaque / The Sting (George Roy Hill, 1973)· Joplin - Solace
6 - Manhattan (Woody Allen, 1979) · Gershwin - Rhapsodie In Blue - I. Andante Moderato
7 - Manhattan (Woody Allen, 1979) · Gershwin - Rhapsodie In Blue - II. Andante Non Troppo
8 - Manhattan (Woody Allen, 1979) · Gershwin - Rhapsodie In Blue - III. Andante Con Moto
9 - Rendez-vous a Bray (Andre Delvaux, 1971)· Brahms - Trois Intermezzi Op.117 - I. Andante Moderato
10 - Rendez-vous a Bray(Andre Delvaux, 1971)· Brahms - 3 Intermezzi Op.117 - II. Andante Non Troppo
11 - Rendez-vous a Bray(Andre Delvaux, 1971)· Brahms - 3 Intermezzi Op.117 - III. Andante Con Moto
12 - Casanova (Federico Fellini, 1976)· Circus - Valzer
13 - Ludwig ou Le Crepuscule des dieux (Luchino Visconti, 1972)· Wagner - Elegie
14 - Cris et chuchotements / Cries and Whispers (Ingmar Bergman, 1972)· Chopin - Mazurka Op.17 N°4