Composition for Moving Images

Composition 

for Moving Images

 

Das Denkmal für die ermordeten Juden Europas* in Berlin und die Annäherung an diese dunkle historische Phase sollte im Zentrum der audio-visuellen kompositiorischen Arbeit im Frühjahr 2021 stehen. Durch pandemische Beschränkungen im März 2021 war die Reise nicht möglich.

 

Die neue Synagoge in Mainz** – Architekt: Manuel Herz - rückte in den Fokus der Betrachtung, aber auch dieses Gebäude war nur unter extremen Einschränkungen begehbar.

 

Bei der Recherche stieß Jan Glück auf die Fotografien der Synagoge von Roger Schäfer: schwarz-weiss und von enormer Intensität. Nach der Kontaktaufnahme war schnell klar, dass wir uns alle eine Zusammenarbeit wünschten mit dem Ziel, Kompositionen für Fotofilme aus und mit den Fotografien von Roger Schäfer***.

 

Die Produktionsgruppe besteht aus:

Jan Glück, Carl von Limburg, David Goralsky, Jan Winter, Rebecca Sohnrey, Willi Bücking, Tizian Herzberger

 

Assistenz:

Jan Glück

 

Gestalterische Leitung:

Prof. Dr. Ferreira-Lopes

Prof. Hartmut Jahn

*

Das Denkmal für die ermordeten Juden Europas, kurz Holocaust-Mahnmal, in der historischen Mitte Berlins erinnert an die sechs Millionen Juden, die unter der Herrschaft Adolf Hitlers und der Nationalsozialisten ermordet wurden. Architekt: Peter Eisenman. https://www.stiftung-denkmal.de

 

**

https://schumstaedte.de/entdecken/synagoge-mainz/

 

***

fotografiert von Roger Schäfer im Oktober/November 2018 mit LEICA M monochrom, Super Elmar 18

https://monochrom.life

Paulo Ferreira-Lopes

At the end of 2014 I started a work cycle called Formes. The Formes cycle should be a large collection of musical and media works and the main focus and theme of the project would be about the Holocaust. The Formes cycle should reveal trough musical and media art works, a personal interpretation of the mass murder of the Jews in Europe. The first part of this project was focused on the composition of the String Quartet II. The inspirational material of this string quartet was based on the Berlin Architectural Art Work: Memorial to the Murdered Jews of Europe. The main idea of the musical work focusses around the concept of a non-ending form, where the musical material should represent a musical identity for each architectural element - the 2711 concret steles of Peter Eisenman’s work. Trough the String Quartet II, I tried to give a voice to the silent concrete, imagining conversations, stories, songs and the weeping and fear of women, men and children murdered by the Nazis.

The musical materials preparation was mainly focused on the 2711 concret steles, and each stele enabled me to produce exactly 2711 small musical elements - ‘Klang Motive’. The great number of “Klang Motive” allowed an infinite number of combinations, and as a consequence a kind of non-ending musical form. This aspect was of course another symbolic characteristic of the musical work, where an infinite musical form, should be perceived as an infinite memory - to prevent forgetting.

In the Winter of 2021 I decided to get back to the project and prepare the composition of a new work. Parallel to this project I had to prepare a composition seminar for the summer semester at the University of Applied Sciences in Mainz. Looking again at the materials, I discovered a great potential to rework the theme of sonification and architectural elements with musical textures for the composition seminar together with my colleague Hartmut Jahn and our students.

Due to the pandemic situation and the impossibility of traveling with the students to Berlin we decided to focus the project on another architectural work that should be close to Mainz but also have a strong connection to the “Memorial to the Murdered Jews of Europe” in Berlin.

The new Synagogue in Mainz emerged as one of the best working scenarios due to the very fine texture work of the different architectural elements. During our research process on the synagogue, Jan Glück, in a moment of great fortune, found a magnificent collection of photos by photographer Roger Schäfer, where the elements we were looking for to start the composition projects for the seminar inspired us to compose music in a very textural and form-based style. Roger Schäfer’s work had a huge impact on the realization of each of the projects, because in his photos the treatment of light as well as the representation of the textures of each architectural element is reworked in each photo in a very refined way. The delicacy and depth of Roger Schäfer’s work allowed each student involved in this project to produce a musical work of great richness - essentially due to the detail and finesse of Roger Schäfer’s photos.

2018-10-23-SynagogeMainz-L1010295.jpg
2018-10-23-SynagogeMainz-L1010259.jpg

MEIN WEG

Wir alle haben eine einzigartige Geschichte. Erzähle Besuchern hier etwas mehr über dich und diese Website. Klicke hier, um den Text anzupassen.