24 preludes/majorcan diary
Director Carlos Vásquez Méndez
Countries Chile, Spain
Duration 39 min
Synopsis
When I left the city to live in the Majorcan countryside for a couple of years, I could not help thinking as should have been the days that Frederic Chopin spent on that island harsh winter of 1838. The only testimony, besides the writings of George Sand which tend to hide his presence, is his music, particularly the 24 Preludes Op 28 he composed while he was there. Besides being a fine work, virtuous and musically varied, marked the birth of a new musical form, which appealed to attempts, to notes, to sketches, in brief, to the experimentation. The prelude as a way helped me to contain the meaning of this free translation from the music to images and the interpretation’s range on other´s experiences, a foreigner like me, who spent some time on this island by going behind a utopia.
When I left the city to live in the Majorcan countryside for a couple of years, I could not help thinking as should have been the days that Frederic Chopin spent on that island harsh winter of 1838. The only testimony, besides the writings of George Sand which tend to hide his presence, is his music, particularly the 24 Preludes Op 28 he composed while he was there. Besides being a fine work, virtuous and musically varied, marked the birth of a new musical form, which appealed to attempts, to notes, to sketches, in brief, to the experimentation. The prelude as a way helped me to contain the meaning of this free translation from the music to images and the interpretation’s range on other´s experiences, a foreigner like me, who spent some time on this island by going behind a utopia.