Today it is impossible to conceive a film without music. What would the famous shower sequence be like in Psychosis without the shrillness of the strings that Bernard Herrmann imagined? Would the arrival of the priest in The Exorcist without the sounds created by Mike Oldfield, when he was barely 17 years old, for his album Tubular Bells? It is that it is proven that music activates the reward systems of the brain and dopamine is released, which induces physiological changes like any other emotional stimulus. It not only serves to link scenes, reinforce ideas and images, accentuate a climate, anticipate the appearance of a character or generate a certain atmosphere, but it also generates memories that transport us to moments stored in our memory. In short, it makes us relive emotions.
History
It is said that in the silent film era the projectors produced an infernal noise. This motivated them to start adapting melodies to accompany the films, until well-known composers, interested in this new artistic form, began to write original music from the scenes that were seen on the screen.
In North America alone, where the industry was growing rapidly, there came to be more than 500 orchestras that performed in the highest category halls, while in neighborhood biographers or small towns this task fell into the hands of enthusiastic pianists.
It is considered that Camile Saint-Saëns and his score for the tape The murder of the Duke of Guise, from 1908, is the first of a series of composers who devoted their ingenuity to this task. Another recognized artist, Erik Satie, wrote the notes for Intermissiondirected in 1921 by the notable French filmmaker René Clair.
The arrival of talkies further accelerated the development of musical activity, although it is striking that renowned directors did not finish accepting employment in their films. Luis Buñuel, for example, said that: “It is an easy resource that also plays tricks.” The legendary John Ford, a specialist in westerns, declared: “I don’t like to see a man in the desert, dying of thirst and the Philadelphia Orchestra playing behind him.”
Fortunately, there were other filmmakers with different sensibility and vision who not only accepted the new rules of the game, but also encouraged them and made excellent use of this resource in their work, such as Víctor Fleming, Frank Capra, William Wyler, Stanley Kubrick, Akira Kurosawa, Federico Fellini, Alfred Hitchcock, Louis Malle, Luchino Visconti and so many others.
Advanced
“I like to conduct my music in concerts because I am convinced that it is not just for movies; it has a life of its own,” said noted Italian musician and conductor Ennio Morricone. Author of more than 500 soundtracks for classics such as For a Fistful of Dollars, The Good, the Bad and the Ugly, Sacco and Vanzetti, Novecento, La Cosa, La Misión and cinema Paradisoreceived an honorary Oscar in 2007 “for his magnificent and multifaceted contributions to the art of film music” and won another for the eight most hatedby Quentin Tarantino, in 2016.
He was a pioneer in the way of composing for the cinema by introducing tools such as human screams, whistles, barks, blows and even whipping, combined with formal instruments and a complete advance in taking music out of the cinematographic field and installing it in concert halls. His presentations are famous at the Arena di Verona, Piazza San Marcos in Venice, the Royal Albert Hall in London and in different theaters in European and American cities such as Santiago de Chile, where he performed on three different occasions in front of an audience enthusiastic.
“I think that Ennio Morricone, John Williams, Nino Rota, Hans Zimmer, Alan Silvestri, Jerry Goldsmith and many others who made and still make music for films are today’s classical composers,” says Ángel Mahler, who runs the initiative. Paramount in concert, which will be presented on April 1, at Luna Park. In the same area, his son, Damián, conducted “ET (the extraterrestrial) in concert”.
Experience
The Walt Disney Company, more popularly known as Disney, is the largest American media and entertainment conglomerate in the world. It was founded by the legendary Walt Disney and his brother Roy O. Disney, in 1923 and from the beginning, music played a major role in their productions. To such an extent that between 1929 and 1935 75 musical short films of the animated series were developed Silly Symphony (Silly Symphonies) where Donald Duck first appeared in 1934.
Over the decades, original songs would be included in the company’s films and thus numerous singers, such as Elton John, Ariana Grande, Luis Miguel, Ricky Martin, Phil Collins, Christina Aguilera and many others, recorded their voices in prominent bands. sonorous.
Disney’s centenary will be cause for celebration at our splendid Teatro Colón, with performances of “Disney 100 in concert”, from February 10 to 23. It is a show with iconic songs such as “An Ideal World” by aladdin“Don’t talk about Bruno” by Charmand “You’re welcome” from Moana: A Sea of Adventuresamong many more.
“It is the fifth collaboration that Disney has made with the Teatro Colón in Buenos Aires. All the symphonic music proposals that we have made so far demonstrate the strength of the connection with the audiences, considering that each one has had stories and characters that have marked many generations over the years. These are shows that aim to generate a different experience that allows them to connect the public not only with the brand, but also with symphonic music”, explains Rocío Sappia, Manager Marketing Live Entertainment, Music & Cinema Partnerships of The Walt Disney Company Latin America.
The proposal, a success in its previous editions, generates so much enthusiasm in the audience and sells out tickets so dizzyingly that it was decided to go on tour in several Latin American countries (Uruguay, Chile, Colombia, Costa Rica) that are looking forward to the show. “This year we offer 2/23, a relaxed function adapted so that neurodivergent people can enjoy the concert with reduced stimuli”, says Sappia.
The Academic Theater Orchestra will be directed by the Brazilian Thiago Tiberio, a specialist in these matters, since he has conducted this type of concert more than 30 times. “The biggest challenge is coordinating the orchestra with the stage, singers, dancers and with the screen, doing my best to make everything sound as exciting and beautiful as possible. With so many roles converging on one person, directing such complex concerts is a real challenge”, he says.
The staging is by the director and régisseur Peter Macfarlane, who is in charge of 30 artists including singers, dancers and acrobats. “The cast works to create conducive situations to maintain the magic and fantasy at all times. Colors, aesthetics and everything that contributes to maintaining the excellent level that Disney and the Teatro Colón stand for predominate. You have to pay attention to every detail, no matter how small. Nobody should be left to chance ”, he concludes.
Initiatives
From the Harry Potter saga, the episode “The Philosopher’s Stone” will arrive, also at the Teatro Colón, on February 24 and 25. The film will be seen subtitled with a live performance of the score by John Williams.
Justin Freer, President of CineConcerts and producer of the Harry Potter Film Concert Series, explains: “Harry Potter is a unique cultural phenomenon that continues to delight millions of fans around the world. We are delighted to provide fans with the opportunity to experience award-winning scores performed live by a symphony orchestra, all while simultaneously projecting the beloved film on the big screen. It’s truly an unforgettable event.”
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