Szabo Stein Emery Carpathian Rhapsody In his Budapest Concerto, dreamed up by conductor Andras Keeler, with the participation of Ruby Lakatos, Gabor Homoki and Ferenc Snitberger, a multi-genre production was created that is not only musically but also intriguing in terms of film. Andras Keeler, hitherto working exclusively in classical music, is now taking a genre trip, and the black-and-white film evokes the smoky pub atmosphere of the 1960s. As a guest on arútluK, the director spoke about
- Such a situation is inherently conflicting, with the musician wanting something different and the film director wanting something different;
- For a musician, sound is always the most important thing, but for him the image comes first, because he directs the film;
- What instruments can be used to bring classical music to the youth and the middle generation as well?
- How Mezzo TV got in;
- What is it like when you lose the recording all day long;
- How to combine country and blues music with gypsy music
- And why did he want to make a black and white movie.
Imre Szabó Stein: The film is harsher and unhappy with the recording of a concert
Coltrophat Podcast
Episode 41
This is an edited excerpt from the interview.
how Carpathian Rhapsody Musical texture?
András Keller and Gábor Homoky dreamed of a special world of music, in which classical symphonic music and world music appear simultaneously. Violin talented Robbie Lakatos and guitarist Ferenc Snetberger are organically connected to this world of music with their own works. the Carpathian Rhapsody It consists of twelve works, bringing Hungarian, Roman and Hispanic gypsy music into the world of jazz and rock and roll. The tracks by Brahms, Enescu, Liszt, Sarasate, Bihari, Boulanger, Snétberger, Roby Lakatos, Gábor Homoky Special Elvis transcriptions and Kálmán Cséki are separate musical units,.
How do you finally create the best version of multiple video and audio recordings? After all, the audio recording has to be continuous, but the photos don’t have to, so the different parts of the image have to be combined here and there.
The movie is a little rougher and doesn’t just record a concert. This is where the risks begin. The basic situation is quite complex, since András Keller is a classical musician who in turn moves to another field here, while remaining a classical musician. The primary conflict is that classical musicians usually think they are playing and that directors want to capture it if they want to. But I also have an idea, because I want to make a movie, so I tell them we’re going to record it three times, so-and-so, because I want to see that again in the movie. This generates conflict situations. I work by making a backup, then the wildlife comes. You don’t have to get caught up in a good concert recording, you just have to record the right concert, because it only comes to classical music lovers. To get to the middle generation, you have to make a movie.
Well, but how can this be achieved in practice?
Musicians also have a common habit of how many hours they can play while they take a break, but in the meantime I have a team of forty employees here where I have to pay close attention to time, and overtime, which puts in a huge amount of stress on each other. For me, the optimal concept is to shoot three times with three different camera visualizations and techniques, and this is just the photo. However, the band will never help make sure that the movie they make isn’t perfect and the sound recording quality isn’t perfect. So more circles to come. The final wretched structure is the director, i.e. me. If you have what I think is good, I’ll show it to the music manager, and if you think the sound was better on the second or third day, then in practice the recording of the first day will go down in the trash as the sound should be tracked. If Gábor Homoky plays an electric viola and hundreds of symphonic musicians play, it has to be said that we build the film backwards from a lot of images. The end, in good shape, is the creation of a whole new product that has serious film teamwork to which the creativity of all the creators adds something. If we’re lucky, there’s a perfect encounter between music and movies, and even the maestro Said.
Last year, with a similar film, it took home the biggest prize in this category at the Venice Television Festival, The Winged Golden Lion. He also went down to the miso.
There we worked with Kremerata Baltica and Gidon Kremer, and it was clearly not an easy thing to do. There are still childhood illnesses to the thing we’ve experienced on our skin, but the trend has been pretty clear. But I will give an example. Moholi Nagy asked at 36 –“37 to document London Zoo. For this, he showed what he meant to him through various camera movements, tilt angles, and a huge scandal erupted because the studio didn’t expect this from him. I’m also interested in the thing that’s going on, the drama. Just the moment you document, you create a museum object. But given the aging audience, I don’t see that as a sufficient challenge. This is a risk, of course.
The Budapest Concerto is one of Hungary’s leading orchestras, with a historical and dynamic past for young musicians. Thanks to its innovative editing program and individual soundtrack, it has brought a new color to Hungarian musical life. In recent years, he has also been invited to many prestigious international festivals and concert halls in Europe, America and the Far East. The returning guests of the Budapest Concerto are world-famous artists such as Gideon Kramer, Boris Berezovsky, Heinz Holliger, Isabel Faust, James Galway and Yevgeny Korolev.
Andras Keeler Kossuth and Liszt Ferenc Award-winning Hungarian violinist, conductor, meritorious artist, founder of Keller Quartet, music director of Concerto Budapest.
a Carpathian RhapsodyOn December 23, 2021 at 6:30 pm, you can listen to the index On your YouTube channel, which will be available on this interface for five days.
(Cover Photo: Szabó Stein Imre on December 16, 2021. Photo: Tamás Kaszás/Index)
