When:
26 March 2015 @ 17:15 – 19:00
2015-03-26T17:15:00+00:00
2015-03-26T19:00:00+00:00
Where:
Lecture Room A
Alison House
The University of Edinburgh, 12 Nicolson Square, Edinburgh, City of Edinburgh EH8 9DF
UK
Alison House
The University of Edinburgh, 12 Nicolson Square, Edinburgh, City of Edinburgh EH8 9DF
UK
Cost:
Free
Contact:
26th March 2015
17:15
Lecture Room A, Alison House, 12 Nicolson Square, Edinburgh
Chaired by Katya Emolaev, a Ph.D. Candidate in Music at the Royal Conservatoire of Scotland.
Ivan the Terrible was the final film project for the Soviet composer-director duo, Sergei Prokofiev and Sergei Eisenstein. Eisenstein considered Prokofiev a master of translating visual imagery into “musical imagery” and chose him to write the film scores for his two sound films, Alexander Nevsky (1938) and the two-part Ivan the Terrible (1944-46).
Unlike the music from Alexander Nevsky, the music from Ivan the Terrible remains less well known, yet the interaction between music and image in this film proves to be more advanced, developed, and ideologically provocative; the second part of this two-part film was deemed politically unsound and was censored by Soviet authorities.
This presentation gives an overview of the Prokofiev-Eisenstein collaboration on Ivan the Terrible and demonstrates the complexity and artistry with which this creative pair developed the “musical image” of their medieval subject.
Free and open to all.
Part of the Music Research Seminars series.
17:15
Lecture Room A, Alison House, 12 Nicolson Square, Edinburgh
Chaired by Katya Emolaev, a Ph.D. Candidate in Music at the Royal Conservatoire of Scotland.
Ivan the Terrible was the final film project for the Soviet composer-director duo, Sergei Prokofiev and Sergei Eisenstein. Eisenstein considered Prokofiev a master of translating visual imagery into “musical imagery” and chose him to write the film scores for his two sound films, Alexander Nevsky (1938) and the two-part Ivan the Terrible (1944-46).
Unlike the music from Alexander Nevsky, the music from Ivan the Terrible remains less well known, yet the interaction between music and image in this film proves to be more advanced, developed, and ideologically provocative; the second part of this two-part film was deemed politically unsound and was censored by Soviet authorities.
This presentation gives an overview of the Prokofiev-Eisenstein collaboration on Ivan the Terrible and demonstrates the complexity and artistry with which this creative pair developed the “musical image” of their medieval subject.
Free and open to all.
Part of the Music Research Seminars series.