- Vincent de Kort conductor
Bozar commemorates the 100th anniversary of Surrealism with an exhibition dedicated to the renowned Belgian artistic movement - and Brussels Philharmonic joins in the celebration with a unique cine-concert. Experience Luis Buñuel's avant ...
[read more]
Bozar commemorates the 100th anniversary of Surrealism with an exhibition dedicated to the renowned Belgian artistic movement - and Brussels Philharmonic joins in the celebration with a unique cine-concert. Experience Luis Buñuel's avant-garde film Un chien andalou in two distinct performances: one accompanied by the avant-garde score of Mauricio Kagel, and the other by the enthralling music of Richard Wagner.
-----
According to André Breton, the godfather of the movement, only a few films can truly be called surrealistic, among them Luis Buñuel's Un chien andalou. The Spanish director collaborated with Salvador Dalí to create this first surrealist masterpiece. A seemingly random sequence of scenes challenges the audience, depriving viewers of any grounding or orientation - the quintessence of the surrealist mindset.
This special cine-concert highlights two different interpretations of this iconic avant-garde film: one version is accompanied by Mauricio Kagel's avant-garde score for strings and tape. In a second rendition, the captivating music from Wagner's Tristan and Isolde - also chosen by Buñuel and Dalí for the film's first showings - offers a completely different live experience.
The ballet score by Erik Satie for Parade and the equally notorious ballet music Un Boeuf sur le toit by Darius Milhaud complete the surrealistic symphonic experience. The premiere of Parade in 1917 caused a scandal in Paris - precisely the intention behind the production's impressive team: choreographer Léonide Massine (of Les Ballets Russes), playwright Jean Cocteau, and artist Pablo Picasso. Erik Satie composed the music, including typewriters, sirens, airplane propellers, a ticker tape, and a lottery wheel in the orchestra. Guillaume Apollinaire described the performance as "a surrealist spectacle," marking the first use of the term. Two years later, Jean Cocteau scored another hit with Un boeuf sur le toit, set to music by Darius Milhaud. This time, he provided a wildly comedic scenario set in a noisy bar, with Milhaud stirring emotions with a fiery soundtrack filled with popular Brazilian melodies.