Sounds of Silence - 2nd edition

Silent film & live music festival - Day 2

GROTE ZAAL |

Live music, uniquely composed for SoS's momentous films

Sounds of Silence is a festival of silent films and live music which presents early silent cinema masterpieces with cutting edge contemporary music. The musicians who collaborate with our project are among the top in their game. They are a group of local Dutch and multi-national talents that make music in varied genres such as classical, jazz, electronic, experimental, and dance music. The music they create is composed and made especially for the festival, and will be performed live alongside the films..

We are delighted to announce the second edition of the festival, coming to The Hague in February 5-7, 2016, sponsored this year by Gemeente Den Haag and hosted by De Nieuwe Regentes.

www.soundsofsilencefestival.nl 

Attention! Tickets online are cheaper.
Day Ticket - Online €20 (€15 for students)
Festival Ticket - Online €50  (€40 for students)

Day 2 - Program
17:00 Project Fantômas / Music and video art by Catchpenny Ensemble - Tickets - Online €12,50 (€10 for students)
19:30 Das Cabinet des Dr. Caligari / Music by Ezequiel Menalled - Tickets - €12,50 (€10 for students)
21:30 Orlacs Hände / Music by Stephanie Pan and Joris Weimar - Tickets - €12,50 (€10 for students)


17:00 Project Fantômas / Music and video art by Catchpenny Ensemble  One of the most popular characters in the history of French crime fiction, Fantômas was created in 1911 and appeared in novels, various films, television, and comic book adaptations. In the history of crime fiction, he represents a transition from Gothic novel villains of the 19th century to modern-day serial killers. After the tremendous popular success of the Fantômas novels, both of the major French film studios—Pathé and Gaumont—vied for the rights to produce films based on the series. Gaumont won, and from April 1913 to May 1914 Louis Feuillade directed five Fantômas films which critic David Thomson has described as "the first great movie experience."
Music and video art by Catchpenny Ensemble 
The Catchpenny Ensemble created a sixty-minute program based upon one of the 1913 Fantômas films, which will be shown in its entirety on a main screen.  Additional screens and projections (on other objects and the musicians) surround the audience with fragments of the film, highlighting certain frames of the film simultaneously.  The theme of this experimental film-concert is “translation” - as each of the five composers translates different interpretations of the film into music to be played by the ensemble, and these translations form simultaneous layers of a unified sound world.  The audience is immersed in a visual and sound world, just as the swimmers used to be immersed in the water of the DNR pool. Seven amplified musicians and electronics will sonify aspects of the film, including the film color changes, film decay, character action, and sound effects. 

19:30 Das Cabinet des Dr. Caligari / Music by Ezequiel Menalled
Das Cabinet des Dr. Caligari (Robert Wiene, 1920)
At a local carnival in a small German town, hypnotist Dr. Caligari presents the somnambulist Cesare (Conrad Veidt), who can purportedly predict the future of curious fairgoers. But at night, the doctor wakes Cesare from his sleep to enact his evil bidding... Incalculably influential, the film’s nightmarishly jagged sets, sinister atmospheric and psychological emphasis left an immediate impact in its wake (horror, film noir, and gothic cinema would all be shaped directly by it).
The Cabinet of Dr. Caligari is a plunge into the mind of insanity that severs all ties with the rational world; a diabolical film which is considered the most brilliant example of that dark and twisted film movement known as German expressionism.

Music by Ezequiel Menalled
This score for The cabinet of Dr. Caligari by Ezequiel Menalled is not entirely written in the conventional way, but more by a combination of instructions, musical materials, music more strictly notated, etc. Special emphasis will be given to the atmospheres, moods and transitions of the scenes, with the goal of making an indivisible unity between film and music. To join in this experience Menalled called upon a number of musicians from different backgrounds that will contribute with diverse skills to enrich this sonic world. Having musicians with classical background mixed with those of jazz or other improvisatory fields promises to enrich the palette of sonic possibilities, not only in terms of instrumental colours (i.e. electric guitar, contrabass, violin and clarinets) but moreover for the coexistence of plural musical styles, something that has had increasing interest in his latest works.

21:30 Orlacs Hände / Music by Stephanie Pan and Joris Weimar
Orlacs Hände (Robert Wiene, 1924)
The music for this film will include a combination of piano, lo-fi electronics and toy instruments to underscore the mix of expressionist and naturalist visuals employed in the film. The score will balance recurring leitmotifs, distorted soundscape, and improvisation, to create an unsettling, unpredictable aural environment as the audience is drawn into the increasing madness of the film's protagonist. Joris Weimar ([prepared] piano) and Stephanie Pan (toy instruments, electronics) join forces for the first time to create this contemporary but strangely fitting live film score.