14 ottobre 2015

Roberto Musci e Giovanni Venosta festeggiano trent'anni di collaborazioni componendo un cd di inediti e rarità che raccoglie il loro primo lavoro insieme (Woman in Late) e anche l'ultimo, per ora (Tales from Kiribati Island). Massimo spazio è dato alle musiche composte per il film di Carl Theodore Dreyer Vampyr (1932), eseguite in concerto nel 1998 - e mai più dopo di allora - in trio con Chris Cutler. Felice anniversario!

Vampyr, one of the first horror movies with sound, is the work of the highly influential danish director Carl Theodor Dreyer. After directing the monumental "La Passion de Jeanne d'Arc" in 1928, Dreyer decided to make this modest film based on the novel "In a Glass Darkly" by Sheridan Le Fanu; while this is indeed his first movie with sound, it was conceived as a silent film, and the movie contains very few dialog. The movie is about a traveler, named Allan Grey (Julian West), who gets involved in a nightmarish plot when the owner of the inn where he is staying asks him for help to save his family from what he believes is a vampire. We follow Allan Grey in his surrealistic trip to madness as he finds out more and more about the supposed vampire that haunts the manor turned inn. The Gothic manor and the lonely rural exteriors increase the haunting atmosphere and the beautiful images Dreyer conceived are the work of a genius. The structure of the script may be complicated, but it shows its influence over David Lynch and other filmmakers with similar surrealist story lines and dreamlike sequences. This masterpiece is a must see for any horror fan ; It is a nightmarish trip to the darker parts of the subconscious mind.
The soundtrack for Carl Theodor Dreyer’s Vampyr was one of our later attempts to combine all these elements. There was only one performance - with Chris Cutler contributing unscripted percussion and live-electronics - at the Palazzina Liberty, in 1998; the recording featured here. Vampyr is not a silent movie but there is very little dialogue, so we sampled the spoken parts, transforming them into sounds to use in building our accompaniment. In an interview in 1935, Dreyer said that the advent of sound in the cinema came ‘too soon’ and, for this reason, we chose to transform the movie’s sparse dialogue using live electronic processing into musical elements of our score, as if Vampyr were, indeed, still a silent movie.