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2017 | OriginalPaper | Buchkapitel

4. Performance

verfasst von : Phil Powrie

Erschienen in: Music in Contemporary French Cinema

Verlag: Springer International Publishing

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Abstract

This chapter explores female performance of the piano, showing how the music mediates the relationship between the principal protagonists. This can be a heterosexual relationship (Un peu, beaucoup, aveuglément; En équilibre; L’Étudiante et Monsieur Henri), a lesbian relationship (L’Accompagnatrice; La Tourneuse de pages; Je te mangerais), or a complex and violent relationship (La Pianiste; De battre mon cœur s’est arrêté). The films articulate the “coming out” from the domestic space to the public space: the woman is lacking in self-confidence, practises assiduously at home, and then demonstrates what she can do in a public performance. The “coming out” is linked to her sexuality, whether heterosexual or lesbian. Performance is not just musical in these films; it is also sexual.

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Vorheriges Kapitel Gender

Nächstes Kapitel Time

The link between Bach and numbers goes back at least to the mid-1700s; see Tatlow (2015).

See also the early feminist monograph by Drinker published in 1948 (1995).

“A standard image of the nineteenth-century female musician is that of a bourgeoise sitting at her piano, in the cocoon of a salon smothered in trinkets and draperies.”

“The Abuse of the Piano in Girls’ Education.”

The term is used by Ben Winters: “Just as the characters a film star plays infect the star, so might the real-world object (the musical work…) be ‘infected’ by its cinematic presentation” (Winters 2014, 45). Winters admits that his approach, which attempts to account for the disruption felt between the music and its actorly performance by “a small group of viewers with real-world knowledge of instrumental performance” is “niche” (48).

“You don’t play Chopin like that.”

“I’ve never played like that before.”

“An exaggeratedly complacent use of the most ridiculous clichés of classical musical performance (the neurotic pianist who ‘liberates’ herself by untying her hair and unbuttoning her blouse…for pity’s sake!).”

“If you think that untying your hair and unbuttoning your blouse says that you’re expressing yourself when playing the piano, you’ve not understood anything at all, my poor darling.”

“Music allows you to say things that words can’t express…Maybe, as long as you’ve got something to say.”

“Life moves next to you, as if outside of you. It rubs around, stirs other people, without taking you.”

“I want to become indispensable to her, irreplaceable.”

“I love you more and more, I hate you more and more.”

The performances are as follows: Strauss, “Wiegenlied” (“Lullaby,” 0.2); Schubert, Trio “Der Hirt auf dem Felsen” (“The Shepherd on the Rock,” 0.33); Mozart, “Laudate dominum” (0.47); Berlioz, “Villanelle” from Les Nuits d’été (“Summer Nights,” 1.20); Massenet, “Dis-moi que je suis belle” from Act II of the opera Thaïs (“Tell Me I Am Beautiful,” 1.23).

“Your eyes tell me that you can be quite hard.”

“Dream, dream, my sweet life,/of the heaven that brings flowers./Shimmering there are blossoms that live on/the song that your mother is singing.//Dream, dream, bud of my worries,/of the day the flower bloomed;/of the bright morning of blossoming,/when your little soul opened up to the world.” Translation copyright © Emily Ezust, from The LiederNet Archive, http://www.lieder.net/lieder/get_text.html?TextId=4398, accessed 10 May 2016.

“I am consumed in misery,/Happiness is far from me,/Hope has on earth eluded me,/I am so lonesome here.” Translation copyright © Emily Ezust, from The LiederNet Archive, http://www.lieder.net/lieder/get_text.html?TextId=36619, accessed 10 May 2016.

“Everything happened without you.”

“I want to see you again, I love you, now my life is starting again.”

“Have you noticed how she looks at you…so intensely.”

“There’s something odd about your page-turner.”

“We see the concerts from the pianist’s point of view, and only secondarily from the point of view of the page-turner, whether they are a success, or whether they are a disaster.”

He makes the point that in these functions he has frequently taken the same role as judge as Ariane (Diaphana 2006, 6).

“The Well-Tempered Clavier.”

“A page-turner can upset a carefully achieved equilibrium.”

“The pieces we chose are the soundtrack to her states of mind.”

“Pictures at an Exhibition.”

“Sonata for Flute, Viola and Harp.”

“Pavane for a Dead Infanta.”

“Feels good.”

“In darker moments.”

“It’s your exam piece…it’s hard.”

“I can’t do it.”

“Avoids the sentimentalism that would not match this tough character with his brusque and nervous gestures.”

Carayol’s detailed musicological analysis leads to the more optimistic conclusion, that Tom has put violence behind him; but this does not take the visual component into account as I am doing here (Carayol 2012, 227–249).

Wood (2002), Sharratt (2004), Birchall (2005), Wyatt (2005), Wheatley (2006), Thakur (2007), Wigmore (2007), Wheatley (2009), Ma (2010), Naqvi and Koné (2010), Sharratt (2010), Warren (2010), Gural-Migdal and Chareyron (2011), Landwehr (2011), Palmer (2011), Ritzenhoff (2012).

“The dogs are barking, their chains are rattling./People are sleeping in their beds,/Dream of much that they do not have,/Delighting in good and evil.//And tomorrow morning everything will have vanished./Still, they have enjoyed their share,/And hope to find once more upon their pillows/Whatever remains.//Let your barking send me on my way, you wakeful dogs,/Do not let me rest in the hour for sleep!/I am through with all dreaming. /Why should I tarry among sleepers?” (Feil 1986, 104–105).

“It’s the rhythm of the stubborn petit bourgeois.”

“Look after her, play the protector.”

“Playing was astonishing.”

“I have done no wrong,/That I should shun mankind–/What senseless desire/Drives me into the wilderness?” (my translation).

“Why are you trying to destroy what might bring us closer together.”

“What you’re doing there is totally sick.”

Birchall, Bridget. 2005. “From Nude to Metteuse-en-Scène: Isabelle Huppert, Image and Desire in La Dentellière (Goretta, 1977) and La Pianiste (Haneke, 2001).” Studies in French Cinema 5(1): 5–15.CrossRef

Carayol, Cécile. 2012. Une musique pour l’image: vers un symphonisme intimiste dans le cinéma français. Rennes: Presses universitaires de Rennes.

Dercourt, Denis. 2006. “Interview avec Denis Dercourt.” La Tourneuse de pages [press-kit], 1–24. Paris: Diaphana Films.

Drinker, Sophie. 1995 [1948]. Music and Women: The Story of Women in Their Relation to Music. New York: The Feminist Press at the City University of New York.

Dumais, Manon. 2006. “La Tourneuse de pages: la musique du silence.” Voir. https://voir.ca/cinema/2006/10/26/la-tourneuse-de-pages-la-musique-du-silence/. Accessed 16 March 2016.

Feil, Arnold. 1986. “Two Analyses.” In Schubert: Critical and Analytical Studies, edited by Walter Frisch, 104–125. Translated by Walter Frisch. Lincoln: University of Nebraska Press.

Gural-Migdal, Anna and Romain Chareyron. 2011. “The ‘Ghost Image’ of Horror and Pornography in Michael Haneke’s La Pianiste (2001).” Studies in French Cinema 11(1): 57–69.CrossRef

Halfyard, Janet K. 2006. “Screen Playing: Cinematic Representations of Classical Music Performance and European Identity.” In European Film Music, edited by Miguel Mera and David Burnand, 73–85. Aldershot: Ashgate.

Haneke, Michael. 2004. “The World that is Known: Michael Haneke Interviewed.” Kinoeye: New Perspectives on European Film 4(1). http://www.kinoeye.org/04/01/interview01.php. Accessed 16 March 2016.

Huizinga, Johan. 1949. Homo Ludens: A Study of the Play-Element in Culture. Translated by R.F.C. Hull. London: Routledge & Kegan Paul.

Kracauer, Siegfried. 1997 [1960]. Theory of Film: The Redemption of Physical Reality. Princeton: Princeton University Press.

Laloy, Sophie. 2009. “Note de la réalisatrice Sophie Laloy.” Je te mangerais [press-kit], 4–5. Paris: Little Stone Distribution/Studio 37.

Landwehr, Margarete Johanna. 2011. “Voyeurism, Violence, and the Power of the Media: The Reader’s/Spectator’s Complicity in Jelinek’s The Piano Teacher and Haneke’s La Pianiste, Caché, The White Ribbon.” International Journal of Applied Psychoanalytic Studies 8(2): 117–132.CrossRef

Launay, Florence. 2009. “L’Éducation musicale des femmes au XIXe siècle en France: entre art d’agrément, accès official à un enseignement supérieur et professionnalisation.” In Genre et éducation: former, se former, être formée au féminin, edited by Bernard Bodinier, Martine Gest, Marie-Françoise Lemonnier-Delpy and Paul Pasteur, 203–210. Mont-Saint-Aignan: Publications des universités de Rouen et du Havre.

Leppert, Richard. 1993. The Sight of Sound: Music, Representation, and the History of the Body. Berkeley: University of California Press.

Loesser, Arthur. 1954. Men, Women and Pianos: A Social History. New York: Simon and Schuster.

Ma, Jean. 2010. “Discordant Desires, Violent Refrains: La Pianiste (The Piano Teacher).” In A Companion to Michael Haneke, edited by Roy Grundmann, 511–531. Chichester: Wiley-Blackwell.CrossRef

Morgan, Elizabeth Natalie. 2009. “The Virtuous Virtuosa: Women at the Pianoforte in England, 1780–1820.” PhD dissertation, University of California Los Angeles.

Naqvi, Fatima, and Christopher Koné. 2010. “The Key to Voyeurism: Haneke’s Adaptation of Jelinek’s The Piano Teacher. ” In On Michael Haneke, edited by Brian Price and David Rhodes, 127–152. Detroit: Wayne State University Press.

Peucker, Brigitte. 2007. The Material Image: Art and the Real in Film. Stanford: Stanford University Press.

Palmer, Landon. 2011. “From Culture to Torture: Music and Violence in Funny Games and The Piano Teacher. ” In The Cinema of Michael Haneke: Europe Utopia, edited by Ben McCann and David Sorfa, 179–191. New York: Wallflower.

Pok. 2015. “Un Peu, Beaucoup, Aveuglément de Clovis Cornillac: Chopin + Serge Lama = ?” Le Journal de Pok, dated 15 May 2015. http://www.manitasdeplata.net/archives/2015/05/29/32128636.html. Accessed 17 March 2016.

Powrie, Phil. 1999. “Heritage, History and ‘New Realism’: French Cinema in the 1990s,” in French Cinema in the 1990s: Continuity and Difference, edited by Phil Powrie, 1–21. Oxford: Oxford University Press.

Raykoff, Ivan. 2013. Dreams of Love: Playing the Romantic Pianist. Oxford: Oxford University Press.CrossRef

Ritzenhoff, Karen A. 2012. “Self-Mutilation and Dark Love in Darren Aronofsky’s Black Swan (2010) and Michael Haneke’s The Piano Teacher (2001).” In Screening the Dark Side of Love: From Euro-Horror to American Cinema, edited by Karen A. Ritzenhoff and Karen Randell, 109–130. New York: Palgrave Macmillan.CrossRef

Sharratt, Christopher. 2004. “The Horror of the Middle Class: Michael Haneke’s La Pianiste (The Piano Teacher, 2001).” Kinoeye: New Perspectives on European Film 4(1). http://www.kinoeye.org/04/01/sharrett01.php. Accessed 16 March 2016.

Sharrett, Christopher. 2010. “Haneke and the Discontents of European Culture.” In On Michael Haneke, edited by Brian Price and David Rhodes, 207–220. Detroit: Wayne State University Press.

StudioCanal. 2015. Presskit for L’Étudiante et Monsieur Henri. Issy-Les-Moulineaux: StudioCanal. http://medias.unifrance.org/medias/86/74/150102/presse/l-etudiante-et-monsieur-henri-dossier-de-presse-francais.pdf. Accessed 18 March 2016.

Tatlow, Ruth. 2015. Bach’s Numbers: Compositional Proportion and Significance. Cambridge: Cambridge University Press.CrossRef

Thakur, Gautam Basu. 2007. “Re-Reading Michael Haneke’s La Pianiste: Schizo-Politics and the Critique of Consumer Culture.” New Cinemas: Journal of Contemporary Film 5(2): 139–152.CrossRef

Warren, Charles. 2010. “The Unknown Piano Teacher.” In A Companion to Michael Haneke, edited by Roy Grundmann, 495–510. Chichester: Wiley-Blackwell.CrossRef

Wheatley, Catherine. 2006. “The Masochistic Fantasy Made Flesh: Michael Haneke’s La Pianiste as Melodrama.” Studies in French Cinema 6(2): 117–127.CrossRef

Wheatley, Catherine, editor. 2009. “La Pianiste. ” In Michael Haneke’s Cinema: The Ethic of the Image, 128–137. Oxford: Berghahn.

Wigmore, Juliet. 2007. “Sex, Violence, and Schubert: Michael Haneke’s La Pianiste and Elfriede Jelinek’s Die Klavierspielerin.” In Processes of Transposition: German Literature and Film, edited by Christiane Schönfeld, 293–306. Amsterdam: Rodopi.CrossRef

Winters, Benjamin. 2014. Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction. Abingdon: Routledge.

Wood, Robin. 2002. “‘Do I Disgust You?’: or, Tirez pas sur La Pianiste.” CineAction! 59: 54–61.

Wright, Craig. 2015. Listening to Western Music. Boston: Cengage.

Wyatt, Jean. 2005. “Jouissance and Desire in Michael Haneke’s The Piano Teacher.” American Imago 62(4): 453–482.CrossRef

“Adagio,” Concerto for Oboe and Strings in D minor, op. 1. Attrib. Alessandro Marcello, arr. Johann Sebastian Bach.

“Adagio,” String Quartet no. 1 op. 18. 1801. Ludwig van Beethoven.

Bagatelle no. 25 in A minor (“Für Elise”). 1810. Ludwig van Beethoven.

Brandenburg Concerto no. 4 in G major, BWV 1049. 1721. Johann Christian Bach.

“Chiarina,” Carnaval, op. 9. 1834–1835. Robert Schumann.

“Chopin,” Carnaval, op. 9. 1834–1835. Robert Schumann.

“Dis-moi que je suis belle.” Thaïs (“Tell Me I Am Beautiful”).” 1894. Jules Massenet (comp.), Louis Gallet (libr.).

Étude, op. 10, no. 12 in C minor (“Étude révolutionnaire”). 1831. Frédéric Chopin.

Étude, op. no. 12 in B-flat minor. Études d’exécution transcendante, S.139. 1837. Franz Liszt.

“Hirt auf dem Felsen, Der” (“The Shepherd on the Rock”), Trio for soprano, clarinet and piano, D.965. 1828. Franz Schubert, Karl von Ense.

“Im Dorfe” (“In the Village”). Winterriese. 1828. Franz Schubert, Wilhelm Müller.

“L’ho perduta, me meschina.” La Nozze di Figaro, K492. 1786. Wolfgang Amadeus Mozart (comp.), Lorenzo Da Ponte (libr.).

“Laudate dominum,” in F major. Vesperae solennes de confessore, K.339. 1779. Wolfgang Amadeus Mozart.

Nocturne in E-flat major, op. 9 no. 2. 1832. Frédéric Chopin.

Notturno in E-flat major, op. 148, D.897. 1827. Franz Schubert.

Pavane pour une infante défunte (Pavane for a Dead Infanta), M.19. 1899. Maurice Ravel.

Piano Concerto in G major, M.83. 1932. Maurice Ravel.

Piano Sonata no. 14 in C-sharp minor, op. 27 no. 2 (“The Moonlight”). 1801. Ludwig van Beethoven.

Piano Sonata no. 17 in D minor, op. 31 no. 2 (“The Tempest”). 1802. Ludwig van Beethoven.

Piano Trio no. 2 in E minor, for violin, cello and piano, op. 67. 1944. Dmitri Shostakovich.

Pictures at an Exhibition, orchestral version of Mussorgsky’s Kartínki s výstavki. 1922. Maurice Ravel.

“Preamble,” Carnaval, op. 9. 1834–1835. Robert Schumann.

“Prelude” in D minor no. 6 from Book 2 of Das Wohltemperierte Klavier (The Well-Tempered Clavier). BWV 846–893. 1722. Johann Sebastian Bach.

Rhapsody, op. 79 no. 2 in G minor. 1879. Johannes Brahms.

Rondo capriccioso in E major, op. 14. 1824. Felix Mendelssohn.

Sonate pour flûte, alto, et harpe (Sonata for Flute, Viola and Harp). L.137. 1915. Claude Debussy.

Toccata in E minor, BWV 914. 1707–1708. Johann Sebastian Bach.

“Villanelle.” Les Nuits d’été (“Summer Nights”), op. 7. 1841. Hector Berlioz, Théophile Gautier.

“Wegweiser, Der” (“The Guide”).Winterriese. 1828. Franz Schubert, Wilhelm Müller.

“Wiegenlied” (“Lullaby”). 1899. Richard Strauss, Richard Dehmel.

Titel: Performance
verfasst von: Phil Powrie
Verlag: Springer International Publishing
Buch: Music in Contemporary French Cinema
Print ISBN: 978-3-319-52361-3

Electronic ISBN: 978-3-319-52362-0

Copyright-Jahr: 2017
DOI: https://doi.org/10.1007/978-3-319-52362-0_4