Novel, Woodcuts, Film, Music …: Pondering over the Title of Gara Garayev’s Symphony Engravings ‘Don Quixote’

In: Music, Narrative and the Moving Image

Abstract

The analysis of Gara Garayev’s music for the film Don Quixote (1957) and his later work, Symphony Engravings ‘Don Quixote’ (1960), based on the film music, had always been undertaken only by the means of musicology, without any attempt to apply an interdisciplinary approach. However, the comparative method applied to the study of the Cervantes’s book, and its illustrations, mostly woodcuts, on the one hand, and Garayev’s music, originally created to illuminate the novel’s images in motion (in Grigory Kozintsev’s film), on the other, can be fruitful for discovering some of their essential peculiarities. Music reflects the moving images seen on the screen but can also assist in creating these images in the minds of readers (and thus enriching the narrative), or can visualize them, when they are invisible, when they should be performed but cannot be seen by spectators, e.g., the races of insects on the stage in a scene of Mikhail Bulgakov’s play The Run with music by G. Garayev. The article conveys the idea of the necessity to study words, music, visual and performed arts altogether, because of the phenomenon of their inter-reflection and mutual illumination.

Music, Narrative and the Moving Image

Varieties of Plurimedial Interrelations

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