用一部片尾的時間

This article is an excerpt of a letter that I discussed with someone about the great compositions of some concerts' video recordings. And I have to appreciate my friend Pei-Ling to revise my letter so that it's readable...

...And I trust that a good director can make the audiences become familiar with the music more easily by the images he films. And I found there is a very good producer in Euroart, his name is Paul Smaczny. He cooperates with many great directors, especially Michael Beyer. Although I am just an amateur of classical music and movie and he doesn’t know me, but I think that he did many great videos for Abbado's Mahler recordings. He filmed Abbado and Gustav Mahler Youth Orchestra's Mahler symphony No. 4 in Wiener Musikverein. So I will mention several images below to point out how Michael Beyer filmed good images to make the music more accessible.

For example, some of the images filmed in Wiener Musikverein is composed like this:

Actually it’s a normal composition. It just emphasizes the splendor of the concert hall and is rarely relevant to the music itself.

So let’s see what  is the exact composition of Abbado's Mahler symphony No.4 in Wiener Musikverein:

I have never seen any director film Wiener Musikverein from this position except Beyer. The composition of this image emphasizes the perspective lines of this room instead of the stage, therefore when the orchestra is playing the third movement, these lines look as if there is a light coming from the orchestra. Beyer really makes the image “ruhevoll”; it is so compatible with the music!

There are also great compositions in Abbado’s Mahler symphonies Nos. 2, 6, and 7 :

In the first movement of No. 6 he has a composition below:

This is a moment from the first movement, and all the strings are playing pizzicato. Almost all of the previous symphony videos just emphasize the uniformity of the orchestra and seldom consider that whether it matches the music or not. But I think this composition is totally different: the bows look messy, so that this scene looks as if Abbado is surrounded by dead tree branches, therefore it looks desolate.

And next let’s see the final movement of No. 7:

This is the opening of the final section of the final movement. This movement is brave and powerful, and the director simply filmed the members playing brass and percussion in unison from the side. If this moment was filmed from the front, it would only emphasis the uniformity of the orchestra. But from this viewpoint, he creates a lively sense of marching movement! The way that he films makes the music more powerful! Maybe the photo looks very normal, but I really have never seen any director film like this before, and it is really compatible with the music.

As for No. 2, because the photos can’t express the director idea, so I just quote a youtube’s video:

You can see that the director asked to shake the camera slightly at 4:32, and this looks just like that the audience can see the resound! Again this simple idea brings out the power of the music!