Μια από τις συνήθειες του Sergei Prokofiev ήταν να “ανακυκλώνει” έργα του, παρουσιάζοντας υλικό τους διασκευασμένο σε εναλλακτικές φόρμες. Παράδειγμα, η ορχηστρική σουίτα Four Portraits and Dénouement from ‘The Gambler’, Op. 49, από την πρώτη του Όπερα, ‘Ο Παίχτης’ (βασισμένη στο έργο του Ντοστογιέφσκι) της οποίας ακούμε ένα απόσπασμα : II. La grand-mère.
Παρεμπιπτόντως, της ιδέας μου είναι, ή αυτό είναι το σάουντρακ που κανείς κινηματογραφικός δεν θα μπορούσε να έχει γράψει;
One of Sergei Prokofiev’s habits was to “recycle” his works, by rearranging material in alternative forms. An example of this is the orchestral suite Four Portraits and Dénouement from ‘The Gambler’, Op. 49, derived from his first opera, ‘The Player’ (based on Dostoevsky’s work) of which we hear an excerpt : II. La grand-mère.
By the way, is it my idea or is this the soundtrack that no film composer could have written?
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It’s definitely like a soundtrack.
But written in 1917!
Yes… He does mingle traditional classic music with what would be a new age then.
We are still in the new age in that sense.
Except, I still can’t fit rap in. It’s become a bit more musical at times, but the autotune is killing me.
I don’t care much about rap music. I liked some old school stuff, especially Public Enemy – I’ve even seen them live in Athens in 1992 (a great show!). But after a while I lost interest. It’s too one-dimensional for me.