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Ludovico Einaudi
Ludovico Einaudi is a rebel from the world of academic music, a fan of pop music of the 60s. He is a musician who managed to create an extremely integral and aesthetic fusion of two incompatible musical trends. Since childhood, the composer’s life has been dominated by two conflicting musical worlds: the academically rigorous lessons of his mother and the rebellious pop music of the 60s, beloved by his sisters. It is not surprising that his childhood, spent at the junction of two worlds, influenced his subsequent works. A successful career in academic music was not his limit. Ludovico constantly turns to a variety of sources: from the avant-garde to early music, from jazz and rock to contemporary themes. He also performs successful experiments with electronic, ethnic, and pop music. Throughout his career, he has collaborated with musicians of various styles: Ballack Sissoko, Jivan Gasparyan, Merkan Dede, Robert, and Ronald Lippok (Heflin, 2020). Constantly experimenting with classical and popular genres, Einaudi managed to form one of the most unusual musical styles of our time.
The Choice Explanation
The object of the study is the specific piece of Einaudi. It is the musical arrangement of the French film directed by Olivier Nakasha and Eric Toledano “1 + 1”, specifically, the composition “Fly”. The choice of the composition “Fly” is determined by the fact that this kind of music is a rare phenomenon on the stage. Performers more often choose a more stable musical repertoire in the classical sense. Such post-minimalist soundtracks tend to be of acceptable technical difficulty for onset musicians and critics.
The Formal Elements of Music and Representation
Analyzing the composition “Fly”, it is worth paying attention to the original minimalist structure of such musical component as the pattern. In Einaudi pieces, the pattern display is usually represented as a complete span. There are no sharp transitions and overloading in the tune. It is very soft, flawless, and continuous: the music is gradually overgrown with minimal orchestration with no distracting maneuvers. The rhythm of the music accelerates so smoothly that it is difficult to find a specific timecode to determine the exact change moment. One of the most vivid moments is the burst of infernal background sound at 3:08 (Ludovico Einaudi – Fly (Live A Fip 2015)). Intriguing, speedy, compelling music takes on a slightly frightening and mystical tone, awakening new emotions in the listener. The melody of the composition is simple and catchy for the audience. The music has neutrality a potential for any plot, which fits into the context of film music. The composition uses the technique of additivity while creating the atmosphere necessary for the author. The composer resorts to saving expressive means, making the music understandable to people with no professional musical education.
Musical Impressions
Emotions from music always depend purely on the personal qualities and experiences of the listener. However, Einaudi’s music evokes the same feeling of loftiness and lightness in all listeners. The composition “Fly” leaves a sensation that is rather difficult to explain. This feeling can be represented as inner awe, hope, and delights. I perceive this melody separately from the film and do not see images associated with the main characters. I only experience intense emotions while listening. The admiration of the moment is so great that everything inside freezes, losing the sense of time and space. The work of Ludovico Einaudi changed my connection with music monumentally.
Works Cited
Heflin, Anna. “How the Most Streamed Classical Artist Ludovico Einaudi is Breaking Barriers Between Pop Culture and Classical Music”. Classical Post, Web.
“Ludovico Einaudi – Fly (Live A Fip 2015)”. YouTube, uploaded by Neoclassical HD Web.
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