In the summer put Vattnäs Konsertlada up Wagner’s ”das rheingold” as fantasyopera. The same kind of ambition to attract new audiences – and get it to stop – marked Indeed spelmusikkonsert ”From Mozart to Final Fantasy”. It starts to go up for the world of classical music that one can find the pop-culture inputs – without compromising on the substance. Or ”protein” as the evening’s conductor, and educational entertaining presenter Charles Hazlewood expresses it.
I have long wondered why the concert halls sumpat the chance to treat film – and spelmusiken as a gateway. If you want younger audiences to discover classical music, you must tell me what it has to offer. And how its themes and the main theme is the basis for all these soundtracks. The thing about Hazlewood is to have your eye on both the game world and the classical music. Add to that a populärkulturell nerdiness as he with ease apply to, for example, Stravinsky’s polyrhythms. In addition, he is funny.
” go away but to know that adagio means slowly. And from Mozart finds Hazlewood on to Alfred schnittke’s collage – and citatteknik. Sometimes they faked the fragments that run amok and get to paragraph ”(K)ein Sommernachtstraum” sound as kymigt as a ”sabbad music box in a Stephen King movie”. Kompositionsmetoden go again in Jason Graves game music from ”Dead space 3”.
the One and the other concert-goers have come here with the grandparents. But a show of hands shows that a large part of the audience consists of middle generation, for this, old enough to have owned a Gameboy in the 90’s. And to remember the Commodore 64 game 8-bit sound file that did his best to sound like a full orchestra, presented here as a retromedley. Ljuslisterna around the scene shifts to color, but it is the music which stands for special effects. When I leave the berwald hall, I feel both uplifted and enlightened. Hazlewoods way to let the game music and classic meet on equal terms enriches both expressions.
