Paul Bowles on Music: Includes the last interview with Paul by Paul Bowles
By Paul Bowles
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Extra resources for Paul Bowles on Music: Includes the last interview with Paul Bowles (Roth Family Foundation Music in America Book)
Example text
There are gay rustic tunes, singing, and some piccolos shrilling in chorus. Sometimes the recording sounds like what comes out of an old sixteen-millimeter sound projector, but that’s the way French pictures are. For me the loveliest spot of sound was the realism of the village church bell calling the population to morning mass: the slow preliminary tolls and ARTICLES AND REVIEWS 1940 29 then the quick clanging, while actually of the same ethnographical interest as the chime of a cafeteria’s ticket-box in an American film, nevertheless give a great lift to the soundtrack.
The atmosphere music for the long, hot night of waiting is good; as a basis Gruenberg has used a Yucatecan song: El Rosal enfermo. 24 PA U L B O W L E S O N M U S I C Lorentz likes to point up a scene with a fortissimo. He has a trick of suddenly turning up the controls to the blasting-point. Usually this summary treatment of the music is swell. Not inevitably. Sometimes it throws a weak musical moment into relief. There are no sound effects. The music and dialogue are independently audible at all times, yet there is no conflict in capturing the spectator’s attention.
What one actually hears is several distant trumpet calls, a few marching songs heard above recorded symphonies, some drums and bagpipes once, chimes ringing for a good twenty minutes, and a lady playing the minuet from Don Giovanni on the harpsichord. There is also some nice shouting as the word “Fin” is projected. Operas on the screen lose all the dignity that a stage presentation gives them, and for me the cinema loses all its own charm when it gets mixed up with opera. The relation of the picture of a spectacle to a real spectacle is perhaps less striking than that kind of relation can be with regard to anything else.