![]() ![]() The climax of Nostalghia when the emigrant from Russia tries to accomplish the mission of his Italian friend and walk across an empty hot spring pool with a burning candle as the vapours and wind blow in Verdi’s Requiem. The three travellers: the eponymous Stalker, the Writer and the Professor on their way to the Zone on a handcar with faces resembling those in Rublev’s Trinity whilst the rhythmical clatter fluently changes into Eduard Artemyev electronic music. Bach again and his choral fugue Herr, unser Herrcher from St John Passion in the final scene of The Mirror and the mother smoking a cigarette and looking at the forest, the field and the past. The moment when artificial gravity is lost at the space base in Solaris and the characters and objects are levitating to an organ version of Bach’s Ich ruf zu Dir, Herr Jesu Christ. When I think about music in Tarkovsky’s cinema I instantly recall several beautiful scenes… The boat reconnaissance by night in a winter landscape illuminated by the glow of explosions and the specific mysterious sounds and dissonant impulses in Ivan’s Childhood. ![]() Pure film should be able to do without music but that's pure theory as music is something organic in film, it's not only a form of illustration.” Music competes with film, it can become an organic element of film but it can also take control of the image - this is a serious problem! A scene without music is completely different it changes with music dubbed in. It will enter the film not as illustration but as its emotional weave. Here in Sweden I have discovered a wonderful folk music which has a fantastic influence on me and it organises the whole material of my new film around itself. If I don't find it I won't replace it with anything else and I won't photograph that image. It's not only the image I could photograph that is important, but for this image I need precisely this snippet of Bach. “Music is obviously of great importance to me. Let us listen anew to his films and discover the music within them. ![]() In his poetics of limiting, slowing down and contemplating Tarkovsky turned out to be very close to many composers and improvisers and this is borne out by the programme of this year’s Nostalgia Festival. He perceived editing as an art of dilution and condensing which respected the flow of time in the particular scenes and its various tensions. At many times, his directing credo seems to refer both to films and to music because his poetical definition of “sculpting in time” seems to perfectly fit both. Ironically, there is very little actual music in his films but its presence does reveal itself in an often diverse and indirect way. In a questionnaire from 1974, which he attached to an entry in The Diaries, he mentions St John Passion as his favourite piece. He studied piano and, apparently, wanted to become a conductor. ![]()
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