# I'm puzzled with Bedřich Smetana-Vltava



## Porco Rosso (Mar 17, 2017)

A great aerobatics glider pilot (Christian from La Motte Du Caire Gliding club in Southern Alps of France) did a filmed performance on The Moldau (From Má Vlast) - Allegro. The First Source Of The Moldau - The Second Source - Woods; Hunt; L'istesso tempo ma moderato. Peasant Wedding; L'istesso tempo. Moonlight.

The film was edited by one of his friends Matt Wright (who had a fatal glider accident in December 2016 and was a quite famous youtuber as "Belleka").

The film editing is of professional quality and genuinely gives the choreographed aerobatics figures of Christian (perhaps one of the few best aerobatics glider pilot in France and abroad) with music.

I love this display, and had the idea to have one of Rei Harakami(great Kyoto-based Electronic musician sadly deceased) mix on the video. And then BANG!! It strangely fit with the editing of the film with Smetana, in a, say, quite diabolical way (I mean quite perfectly which is amazing and say a bit scary). Coincidence ? Did Rei Harakami studied Smetana for his music or is it just an hazard ?
Obviously he had a classical music background or education (I suspect a quite advanced one in composing) as an Electronic musician (his music is very rhythmically rich and structured)

You can have your opinion at 




and share your thoughts, or may give explanation.


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## Francis Poulenc (Nov 6, 2016)

I'm not sure what the question is.


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## Porco Rosso (Mar 17, 2017)

Play the video in youtube with Bedřich Smetana-Vltava(this is the original), open mixcloud at the address in my comments on the youtube page 
https://www.mixcloud.com/sinlopez/rei-harakamiレイハラカミ-selected-mix-vol2/
with my direction (play music first, then video with no more than 2s lapse).
The film editing with Bedřich Smetana-Vltava music fits perfectly Rei Harakami Electronic music. The question was if classical musicians had the same feeling with this experience or not, and ultimately if Rei Harakami had choosen classical patterns of composing for his music (closed to Bedřich Smetana-Vltava for his music).


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## MarkW (Feb 16, 2015)

I, too, don't know what you're asking. The video you linked to had Smetana and Grieg on it and was quite pretty -- although four minutes of watching a glider do loops is about right for my lifetime.


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## Francis Poulenc (Nov 6, 2016)

The reason it "fits" is because both pieces are in compatible keys. Hence there is no feeling of disharmony when they are played together overlapping each oher. The Japanese music has nothing to do with Smetana otherwise, there are no "classical patterns".


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## MarkW (Feb 16, 2015)

Okay, I get it. I think the moral of the story is that there are lots of different musics that could go with a film like that -- and they don't necessarily have to be related, other than the tempo and the atmosphere have to work somehow.


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## Porco Rosso (Mar 17, 2017)

Compatible keys doesn't mean same breath in composing, this is Electronic(highly sophisticated one from a real composer) music and not _Japanese_ music.


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## Francis Poulenc (Nov 6, 2016)

Porco Rosso said:


> Compatible keys doesn't mean same breath in composing, this is Electronic(highly sophisticated one from a real composer) music and not _Japanese_ music.


I don't know what you mean by "breath in composing", but Smetana and the Japanese music you provided certainly do not have the same breath. What they do have, however, are compatible keys.


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## Porco Rosso (Mar 17, 2017)

I don't have any education in composing, but why both musics clearly emphazises the same 3'08 moment (with Bedřich Smetana-Vltava and Rei Harakami), in one case as the development of a classical musical theme (Bedřich Smetana-Vltava) and in the other case by a sigh (the only one in the piece) ?


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## Francis Poulenc (Nov 6, 2016)

Porco Rosso said:


> I don't have any education in composing, but why both musics clearly emphazises the same 3'08 moment (with Bedřich Smetana-Vltava and Rei Harakami), in one case as the development of a classical musical theme (Bedřich Smetana-Vltava) and in the other case by a sigh (the only one in the piece) ?


Pure coincidence. The "sigh" could have been placed at any other moment. However, were the tempi to coincide, the two notes would also coincide because they are on the same beat.


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## Porco Rosso (Mar 17, 2017)

Same thing at 4'50, both Bedřich Smetana-Vltava and Rei Harakami compostion are developping their theme in the same way I mean in the second phase of their plays (moderato)


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## Francis Poulenc (Nov 6, 2016)

Porco Rosso said:


> Same thing at 4'50, both Bedřich Smetana-Vltava and Rei Harakami compostion are developping their theme in the same way I mean in the second phase of their plays (moderato)


You're reading way too deeply into this. There is no correlation, as much as you want there to be.


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## Porco Rosso (Mar 17, 2017)

OK similarities are finally more scarce that it first appears, I admit the same keys and coincidence at 3'08, with both similar development in second phase at 4'50 and that's all, the end of both plays aren't related at all. Thanks for your explanation.


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## Porco Rosso (Mar 17, 2017)

Plus same development of major theme at 57" and 1'06, but both plays have finally quite the same duration so it can be understood


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## Porco Rosso (Mar 17, 2017)

I admit it, but it fits the film editing, and from this point of view you're OK there no correlation between the two but to the editing. So there are surely a lot of other plays with the same keys that could do so, with a similar duration and structure (intro development, second movement conclusion or third one as you would call it). Rei Harakami had just choosen this classical architecture, and even mediocre airport music does the same.


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## Pugg (Aug 8, 2014)

Francis Poulenc said:


> You're reading way too deeply into this. There is no correlation, as much as you want there to be.


This sums it op quiet clearly in my humble view.


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## Porco Rosso (Mar 17, 2017)

I think "eighth rest" would be more appropriate than "sight" (that means nothing in english as a rest value but has a whole different meaning in music as "sight-reading"). Forgive me this english (and musical) mistake. Comparing the two, it seems me better to say that it's finally an antinomy between the two that'd be listened as a paradox with the editing of the film. Thanks for your answers.


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