Notes by Andrew on the violin composition:
1) Distortion of the sound according to loss of picture
2) Murmur of the crowds (manipulated to sound distant yet constant) – trying to give a feeeling of witnessing it but not being THERE
3) Violin based on Hassidic melody performed by Boris Yevarechecha.
Played in a western style/western harmony -> Trying to show the breadth of Jewish migration and also that we are not THERE witnessing it.
Also, it has an irregular metre (timing) which aims to give a sense of timelessness…
It is also sorrowful = Mourning the destruction of the temple
4) Prayer emerges whenever you see a book…
5) I have reversed the “soundscape” and the piano when the woman is walking backwards (just a trick to denote movement)
6) The crowd fades out just leaving the violin at the end with the man alone with his torah. Tries to suggest that religion is also a personal thing although judaism is wrapped up in its global community
“Just as mosaics preserve their majesty despite their fragmentation into capricious particles, so philosophical contemplation is not lacking in momentum. Both are made up of the distinct and the disparate; and nothing could bear more powerful testimony to the transcendent force of the sacred image and the truth itself. The value of fragments of thought is all the greater the less direct their relationship to the underlying idea, and the brilliance of the representation depend as much on this value as the brilliance of the mosaic does on the glass plate. The relationship between the minute precision of the work and the proportions of the sculptural or intellectual whole demonstrates that truth content is only to be grasped through immersion in the most minute details of subject matter.”
Benjamin, The Origin of German Tragic Drama, p28-29
I have used aesthetic aproaches that evoke dissaperance .. fade in and out , playing with texture and fragility of the image.
In 1963, accompanied by a newsreel photographer and a Catholic priest, Piero Paolo Pasolini traveled to Palestine to investigate the possibility of filming his biblical epic The Gospel According to Matthew in its approximate historical locations. Edited by The GospelÔs producer for potential funders and distributors, Seeking Locations in Palestine features semi-improvised commentary from Pasolini as its only soundtrack. As we travel from village to village, we listen to PasoliniÕs idiosyncratic musings on the teachings of Christ and witness his increasing disappointment with the people and landscapes he sees before him. Israel, he laments, is much too modern. The Palestinians, much too wretched; it would be impossible to believe the teachings of Jesus had reached these faces. The Gospel According to Matthew was ultimately filmed in Southern Italy. Mel Gibson would use some of the same locations forty years later for The Passion of the Christ.