Abstract

This is a work for Orchestra to be heard with Murnau's Faust (1923). In this scene, Faust offers to sell his soul to gain knowledge and is guided by spirits on a journey to visit the devil.

The score uses phasing and frequency beating to convey the film's texture and mythic imagery, and combinations of soloists and ensembles to communicate a sense of the lone individual coming into the presence of a great power. Just as early film combines multiple layers of film or mirror effects to give the impression of transparency, I layer and mirror image the unison to communicate the glowing presence of a spirit. I also wanted to reflect on the twofold sense of time in the film. First, the scene is a vision of the distant past from the imagination of a different distant past. Both actors in my scene were born in the 19th century (faust b. 1890 and mephistopheles b.1884). This reminded me of Barthe's Camera Lucida: "I am looking at eyes that looked at the Emperor." In my case, "I am looking at eyes that looked at sunsets caused by Krakatoa."
LanguageEnglish
Publication statusPublished - 29 Oct 2017

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Faust
Layer
Texture
Emperor
Soloist
Mirror Effect
Camera Lucida
Ensemble
Imagery
Mephistopheles
Devil
Transparency
Unison
Journey

Cite this

@misc{57bc7f2b278449b4804fe941471487af,
title = "Mephisto",
abstract = "This is a work for Orchestra to be heard with Murnau's Faust (1923). In this scene, Faust offers to sell his soul to gain knowledge and is guided by spirits on a journey to visit the devil.The score uses phasing and frequency beating to convey the film's texture and mythic imagery, and combinations of soloists and ensembles to communicate a sense of the lone individual coming into the presence of a great power. Just as early film combines multiple layers of film or mirror effects to give the impression of transparency, I layer and mirror image the unison to communicate the glowing presence of a spirit. I also wanted to reflect on the twofold sense of time in the film. First, the scene is a vision of the distant past from the imagination of a different distant past. Both actors in my scene were born in the 19th century (faust b. 1890 and mephistopheles b.1884). This reminded me of Barthe's Camera Lucida: {"}I am looking at eyes that looked at the Emperor.{"} In my case, {"}I am looking at eyes that looked at sunsets caused by Krakatoa.{"}",
author = "Kristina Wolfe",
year = "2017",
month = "10",
day = "29",
language = "English",

}

Wolfe, K, Mephisto, 2017, Composition.
Mephisto. Wolfe, Kristina (Composer). 2017.

Research output: Non-textual formComposition

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A2 - Wolfe, Kristina

PY - 2017/10/29

Y1 - 2017/10/29

N2 - This is a work for Orchestra to be heard with Murnau's Faust (1923). In this scene, Faust offers to sell his soul to gain knowledge and is guided by spirits on a journey to visit the devil.The score uses phasing and frequency beating to convey the film's texture and mythic imagery, and combinations of soloists and ensembles to communicate a sense of the lone individual coming into the presence of a great power. Just as early film combines multiple layers of film or mirror effects to give the impression of transparency, I layer and mirror image the unison to communicate the glowing presence of a spirit. I also wanted to reflect on the twofold sense of time in the film. First, the scene is a vision of the distant past from the imagination of a different distant past. Both actors in my scene were born in the 19th century (faust b. 1890 and mephistopheles b.1884). This reminded me of Barthe's Camera Lucida: "I am looking at eyes that looked at the Emperor." In my case, "I am looking at eyes that looked at sunsets caused by Krakatoa."

AB - This is a work for Orchestra to be heard with Murnau's Faust (1923). In this scene, Faust offers to sell his soul to gain knowledge and is guided by spirits on a journey to visit the devil.The score uses phasing and frequency beating to convey the film's texture and mythic imagery, and combinations of soloists and ensembles to communicate a sense of the lone individual coming into the presence of a great power. Just as early film combines multiple layers of film or mirror effects to give the impression of transparency, I layer and mirror image the unison to communicate the glowing presence of a spirit. I also wanted to reflect on the twofold sense of time in the film. First, the scene is a vision of the distant past from the imagination of a different distant past. Both actors in my scene were born in the 19th century (faust b. 1890 and mephistopheles b.1884). This reminded me of Barthe's Camera Lucida: "I am looking at eyes that looked at the Emperor." In my case, "I am looking at eyes that looked at sunsets caused by Krakatoa."

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M3 - Composition

ER -