По всей видимости концерт вдохновлен идеями Льва Кулешова. Текст сопровождающий альбома (на английском) можно найти http://oscarstrasnoy.info/projects/kuleshov/
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Kuleshov, Piano Concerto. World premiere: 1 JUN 2017 at the Salle Raoul Jobin, Palais Montcalm, Quebec, Canada. Alexandre Tharaud, piano, Les Violons du Roy, Mathieu Lussier, cond. Second performance: 2 JUN 2017,Salle Bourgie du Musee des Beaux Arts de Montreal.
About “Kuleshov”
Lev Kuleshov wanted to prove that the power of an image is not to be found in itself but in its context. The Kuleshov effect consists in repeating the same image (A), interpolating it among changing images (A-B-A-C-A-D-A-F…), generating in the one who looks the dilemma: is the repetitive image always identical or slightly changing? Kuleshov maintained that the images that precede and follow the repeating image would modify its dramatic perception. Thus Kuleshov participated in the birth of the cinematographic montage, the principal tool of cinema, stimulator and manipulator of memory. I believe that montage is also the main tool of musical dramaturgy and I try to prove it in my pieces. The same question can be asked: are the repetitive figures in music really repetitive? Music moves forward, whatever happens, by the action of time, but repetition does all it can to stop the passage of time.
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(на английском) можно найти http://oscarstrasnoy.info/projects/kuleshov/
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Kuleshov, Piano Concerto. World premiere: 1 JUN 2017 at the Salle Raoul Jobin, Palais
Montcalm, Quebec, Canada. Alexandre Tharaud, piano, Les Violons du Roy, Mathieu Lussier,
cond. Second performance: 2 JUN 2017,Salle Bourgie du Musee des Beaux Arts de Montreal.
About “Kuleshov”
Lev Kuleshov wanted to prove that the power of an image is not to be found in itself but
in its context. The Kuleshov effect consists in repeating the same image (A),
interpolating it among changing images (A-B-A-C-A-D-A-F…), generating in the one who looks
the dilemma: is the repetitive image always identical or slightly changing? Kuleshov
maintained that the images that precede and follow the repeating image would modify its
dramatic perception. Thus Kuleshov participated in the birth of the cinematographic
montage, the principal tool of cinema, stimulator and manipulator of memory. I believe
that montage is also the main tool of musical dramaturgy and I try to prove it in my
pieces. The same question can be asked: are the repetitive figures in music really
repetitive? Music moves forward, whatever happens, by the action of time, but repetition
does all it can to stop the passage of time.
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