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In "Bachdisc", Downey constructs a sophisticated fusion of the classical and the technological, merging the labyrinthine technology of the interactive laserdisc with the intricate, delicately intertwined structure of a Bach fugue and his own nonlinear compositional strategies. Using a performance of Bach's Fugue #24 in B Minor by harpsichordist Elaine Camparone as the work's structural foundation, he manipulates the initial musical theme in twelve successive "chapters" that distill the fugue into its elemental parts. Choosing from the twelve chapters, the viewer can access and recompose his/her own fugue in a real-time manifestation of Bach's musical form. Digital effects such as split screens and inserts, which isolate specific visual elements, allow the viewer to deconstruct - and reconstruct - Bach's serpentine language of counterpoint and theme and variations.Read moreLess
In "Bachdisc", Downey constructs a sophisticated fusion of the classical and the technological, merging the labyrinthine technology of the interactive laserdisc with the intricate, delicately intertwined structure of a Bach fugue and his own nonlinear compositional strategies. Using a performance of Bach's Fugue #24 in B Minor by harpsichordist Elaine Camparone as the work's structural foundation, he manipulates the initial musical theme in twelve successive "chapters" that distill the fugue into its elemental parts. Choosing from the twelve chapters, the viewer can access and recompose his/her own fugue in a real-time manifestation of Bach's musical form. Digital effects such as split screens and inserts, which isolate specific visual elements, allow the viewer to deconstruct - and reconstruct - Bach's serpentine language of counterpoint and theme and variations.
The story
In "Bachdisc", Downey constructs a sophisticated fusion of the classical and the technological, merging the labyrinthine technology of the interactive laserdisc with the intricate, delicately intertwined structure of a Bach fugue and his own nonlinear compositional strategies. Using a performance of Bach's Fugue #24 in B Minor by harpsichordist Elaine Camparone as the work's structural foundation, he manipulates the initial musical theme in twelve successive "chapters" that distill the fugue into its elemental parts. Choosing from the twelve chapters, the viewer can access and recompose his/her own fugue in a real-time manifestation of Bach's musical form. Digital effects such as split screens and inserts, which isolate specific visual elements, allow the viewer to deconstruct - and reconstruct - Bach's serpentine language of counterpoint and theme and variations.
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- Director
- Juan Downey