Villa Concert [home]
DVD SAMPLES (click on the title to view) [About Villa Concert]
Tango Classica (fragment)
01:42 min. / 17,1 MB/ MPEG Video
0:47 min. / 8,03 MB/ MPEG Video
01:06 min. / 11,2 MB/ MPEG Video
01:43 min. / 17,2 MB/ MPEG Video
To view the booklet accompanying the DVD, click here (Word document).
This booklet of 46 pages contains the original poems and their English translations,
the spoken text translated into English, articles, background information and photos.
This film of musician Schipper and filmmaker Cupédo shows a classical “direct creation concert” in a villa by
composer, concert pianist, vocalist and actor Schipper. The movie is about beauty and humanity in our time.
It is a true music movie: Schipper and Cupédo shared direction and editing.
The result is a special cross-over between film and classical music, the images of the concert work as sounds.
The movie though is about much more than music alone: it’s also the lively contact with the audience,
the singing that turns unnoticed into acting. Music and cultures from the past and our surrounding countries
integrate in Schipper’s appealing Romantic music.
Before the intermission Schipper plays his appealing Romantic piano music.
After the intermission he performs poetry and prose.
Poems of the great French romantic Arthur Rimbaud come to life in all intensity.
Letters of the painter Paul Gauguin set of a Stone Age culture in the South Pacific against our own.
With the poem about Venice by the contemporary Canadian poet James Strecker the movie comes to a wild climax,
leaving us behind with a sense of fulfillment, melancholic humor and beauty.
and co-founder of the Netherlands Dance Theatre:
“I experienced this movie as an intense total-experience.
Barend Schipper dances when he plays the grand piano.
His singing turns unnoticedly into acting and his film editing functions as a musical composition.”
Frans Westra, director Filmhouse Images: “It’s a special and good cross-over between movie and a classical concert.
Partly because of the special musical editing, the beautiful lighting, Barend Schipper’s personal presentation
and pleasant music it has become a very good film indeed.”
Frans Brüggen, conductor of the Orchestra of the 18th Century about Barend Schipper’s music:
“Beautiful, descriptive music, and well played too!”
Barend Schipper on the film:
we enter the movie as if with closed eyes. From the Sonatine to Arthur Rimbaud the camera follows the piano music that
leads us more and more into the world of sounds of the Steinway.
A grand piano is an instrument that has been created, listened to and refined during 240 years,
generation to generation.
The musical language is based on a similar process. We travel through time in a landscape of piano music
that we experience with the view of our own time.
Reviving the Romantic and Classical piano culture is not merely an idea,
but a simple consequence of our present, rich situation of life.
I felt the need to let that beautiful culture flow through me and this way giving rise again
to the beauty of our intercultural world.
In our time we are growing people. Change is perhaps the only stable aspect of our period.
Growing from inside out, changing, can be a passion, a true emotion.
All music in the movie “Barend Schipper: Villa Concert” is subject to change. The music never ends where she started.
The twenty years that it took me to develop the now sounding music was worth it because the music now
has the naturalness that I longed for for all those years.
The poetry of Arthur Rimbaud fascinates me: direct and intense emotions lead us ‘into trance’.
Especially Rimbaud’s last and maybe most intense, feverish work wherethe poems in the movie come from:
it forms a world in which we are led to an intimacy in which language as we know it functions very differently:
the language is filtered through a soul that is wide open-eyed and receptive and ironic at the same time.
Here, language becomes a strong magnifying glass. It leads our gaze to more intense colors: darker ánd lighter,
into an intense emotional experience of life itself.
In ‘Villes’ all cities come together. Rimbaud is overtaken by the many impressions
and he experiences the city as an overwhelming vision that floods him.
The power of his poems enters me directly and by that the music pours out straightforwardly.
In ‘Mouvement’ Rimbaud describes a stunning scene: a society where people have taken possession
over all that lives and moves. Science and machines count the blood, the jewellery and the measure of life.
He sees society as a ship that sails past a dyke of study books during this decadent night on the river of time.
At the end, when the ship has almost past, he just sees two people who truly are only human.
They have forgotten that they are on the ship, and sing, and have found their place.
Gauguin: As a pearl inside an oyster starts with a grain of sand and is being expelled,
cased with mother-of-pearl, so was the half Peruvian Gauguin in his time a culturally militant personality.
This goes for all his successful endeavours, first as a stock broker and later as a painter.
We recognize this as the utmost consequence of someone whose temperament and untemperedly defined profile
shows us deep beauty, but also undesired truths.
Intercultural insights and experiences are sometimes hard to digest, both for the environment as well as for the person himself.
in the Stone Age culture of the islands in the South Pacific. His art finds an unknown shape that fascinates and moves us,
and that gives us new intercultural insights.
James Strecker: Glenn Gould knew a modest, serene and utmost powerful Bach interpretation.
In his hands Bach led to silence, the most profound sounding of many-voiced beauty.
In the poem ‘After hearing Glenn Gould play Bach’
James Strecker projects the music in silent nature… on this morning James finally finds peace again with the world we live in.
‘Canale Grande: Hanging Loose’: James visits Venice here and soon ends up in a bistro.
The beauty of the city, his wife, mirrors that reflect everything a hundred times, make the grappa ferment in him.
Philosophy , religion, common plastic souvenirs, everything is reviewed in an unparalleled fashion until,
outside again on the street, James with his wife imitates the Canale Grande swingingly and this way
performs the climax of the poem and of the movie first laughing and then melancholic.
About Barend Schipper: [page up]
‘Music of Barend Schipper is a movement through time’
Barend Schipper composes and plays new forms of romantic music, which appeal by its sincerity and warmth.
Schipper goes back as far as the roots of Romantic music, from Renaissance composers to Scarlatti, Bach, Mozart and Haydn,
to whom also the Romantic composers orientated themselves again in order to develop further.
He places their musical language in our time. From here he creates on: a Rebirth of Romantic music
as a follow-up of our post modernism.
Our time is an intercultural time. Accessibility of other cultures in the past and around us has never been so open.
It urged Barend after an international top education to take on a twenty year’s journey through time and space.
Dr. Nathaly Zuidema-Vainshtein, journaliste
This concert is recorded in villa ‘de Kamp’ with a Steinway grand piano
The music is recorded with 5 Neumann microphones.
Four cameras: Arno Cupédo, Aafke Sterenberg, TOF
Lighting: Arno Cupédo
Film editing: Barend Schipper, Arno Cupédo
Music recording: AE Studios, Arnoud van der Laan
Sound post-editing: Soundbase, Guido van de Kamp
Coverdesign DVD: Meyke Beekman
Producer: Music Inter Face
Tel/fax: +31 (0)50 541 76 95