It’s the birthday of the American composer Samuel Barber today. He’s best known for the Adagio for Strings, which is actually the second movement of his 1936 String Quartet. Whether you heard it at a concert, at a memorial service or at the movies, you’d know it instantly.
But that’s not what piqued my interest in a new documentary about Barber, Absolute Beauty, made by Film-maker H. Paul Moon. What got me interested was this interview with Moon, where he talks about making films about classical / new music.
In hindsight, I would have never started the film if I knew how hard it would be: educational documentaries about “classical” music are increasingly treated like commercial assets (no matter the financial reality), just as the overall genre of documentaries preoccupies more than ever with cause-driven projects — and thus the arts as a subject matter suffers, at a time when outreach using new media is more important than ever, to bring audiences back into the live music experience.
It’s his distinction between recording a performance — Carmen Live on video, Barry Manilow at the London Palladium — and using the documentary format to interact with music. Engaging with a work, as he puts it, ‘beyond what just rattles air’. And that thought has sent me back to look for projects like Genevieve Lacey and Clare Sawyer’s ‘Recorder Queen’, a ‘bio-docu-mation’, which is also about going beyond the score, beyond the music, beyond the performer.
It makes me wonder what more amazing work could be done linking imaginative vision-sculptors with wild-eyed air-rattlers.
I hope to review Absolute Beauty on this site soon, and hopefully Recorder Queen too. But in the meantime, I’m gonna take another look at the trailer and wish Mr Barber a happy birthday.
A quick plug for my crowd-funding project: if you haven’t already taken a look, get thee over to www.unbound.com/books/sanctuary to view a short video about my pictorial history of Dartington International Summer School of Music, then, pretty please, pledge and share!