'Ryuichi Sakamoto: Opus': Món quà chia tay từ nhạc sĩ bậc thầy

buổi hòa nhạc cuối cùng của nghệ sĩ điêu luyện Nhật Bản ghi lại trong suy ngẫm đau đớn về cái chết và di sản

The twin themes of “Ryuichi Sakamoto: Opus” are art and mortality (nghệ thuật và cái chết) , and they’re twisted so tightly together that they become inextricable. Shot in black and white to match the keys of the piano, the film entirely consists of the influential Japanese musician’s final concert. One might say it was a performance for nobody — Sakamoto filmed alone in a studio, with only the crew there as audience (khán giả). But it’s more correct to say it’s for us, a gift from a master.

Included in the musical selections are some numbers that Sakamoto hadn’t previously performed as solo piano arrangements, like “The Wuthering Heights” (composed as the theme for the 1992 film). There are new arrangements of old songs, such as “Tong Poo,” which was first released as a single from the 1978 synth-pop debut album of Sakamoto’s band, Yellow Magic Orchestra. And there are familiar favorites, especially “Merry Christmas Mr. Lawrence,” composed (soạn nhạc) for the 1983 film, in which Sakamoto also starred alongside David Bowie.

But for me, the songs aren’t the point of “Opus.” The camerawork, performance, lighting and music all add up to something larger than their individual parts. One audible element is Sakamoto’s use of the pedals, which on a grand piano have different purposes, all designed to alter the life and timbre of the note.

Some people say that after death, you lurk around earth as a ghost until the last person to know you dies, and your memory disappears completely (mất đi ký ức hoàn toàn). That seems related to the way a piano works: Even after the finger moves off the piano key, the string thrums with fading sound until it’s stilled and forgotten. At the very end of “Opus,” the piano plays, the keys depressing in turn, but Sakamoto himself is gone. His music, it suggests, is what lives on.

source: nytimes,

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