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VLADIMIR COSMA – PORTRET COMPONISTIC

Vladimir Cosma, compozitor francez de origine romana, este autorul coloanelor sonore ale unor pelicule cunoscute, ca “Marele blond cu un pantof negru”, “La Boum”, “Diva”, cateva productii “Asterix” sau “Aventurile Rabinului Iacob”, unul din clasicele Louis de Funes. Compozitor al muzicii din mai bine de 300 de filme, si al operei “Marius et Fanny”, care a avut premiera mondiala in 2007, Vladimir Cosma isi va povesti viata si va interpreta, pe scena Salii Bizantine a Palatului Behague, cele mai cunoscute melodii ale sale. Va fi acompaniat de Richard Sanderson (voce si pian), Sarah Pagin (voce), David Galoustov (vioara) si Philippe Catherine (chitara).

Vladimir Cosma s-a nascut intr-o familie de muzicieni evrei-romani, originari din Craiova. Tatal sau, Theodor Cosma, a fost un renumit pianist si dirijor, mama sa, de asemenea compozitoare, unchiul sau Edgar Cosma a condus Orchestra Cinematografiei din Bucuresti, iar bunica sa, cunoscuta pianista, a studiat cu Ferruccio Busoni. Vladimir Cosma traieste in Franta din 1963, unde se stabileste castigandu-si existenta ca violonist in orchestre simfonice, continuandu-si studiile cu Nadia Boulanger, la Scoala Normala de Muzica din Paris.

Pe vremea cand traia in Romania, Vladimir Cosma avea o mare admiratie pentru Michel Legrand. Acesta ii ascultase pe benzi muzica si i-a incredintat orchestrarea pieselor transmise in direct la “Discorama”. Era perioada in care Michel Legrand realiza coloana sonora la “Domnisoarele din Rochefort”. Dupa un an ii ofera sa compuna muzica din “Alexandre le bienheureux” (“Alexandru cel fericit”) de Yves Robert, cu Philippe Noiret si Marlene Jobert, lansat in 1969. Este debutul unei cariere stralucitoare…

A compus muzica pentru filme ca “Dineu cu prosti”, “Jucaria” si “Jaguarul”, create de Francis Veber, “Setea de aur” de Gerard Oury, “Ceasul, crucea si maniera” de Ben Lewin, “Asterix la Bretoni”, genericul seriei animate “Rahan”, “C’est pas moi, c’est lui” si “Sunt timid dar ma tratez”, cu Pierre Richard, “Fiecare cu infernul sau”, de Andre Cayatte, “Dracula tatal si fiul” de Edouard Molinaro, “Jurnalul intim al unei nimfomane”, de Jesus Franco… Este inspirat de muzica romaneasca si in special de naiul lui Gheorghe Zamfir. Realizeaza impreuna cu acesta coloana sonora la “Marele Blond…” pentru care este premiat la Festivalul de la Cannes.

A fost rasplatit si cu doua “Cesar” pentru cea mai buna muzica de film pentru peliculele “Diva” de Jean-Jacques Beineix in 1982 si “Le Bal” al lui Ettore Scola in 1984. A compus si genericele de deschidere si inchidere pentru TF1, difuzate intre 1975 si 1976, dar si noile versiuni din 1976 si 1984.

Melodia este ca subiectul unei carti

Dupa 30 de ani de muzica de film, Cosma se dedica acum scrierii suitelor simfonice, bazate cel mai adesea pe celebrele melodii compuse pentru cinema. A lucrat timp de mai multi ani, compunand muzica pentru “Trilogia marseilleza” de Marcel Pagnol creatie ce a fost prezentata la Opera din Marsilia in 2007.

“Cand se vorbeste despre «muzica contemporana» sau «muzica secolului al XX-lea», toata lumea se gandeste sistematic la Scoala de la Viena, uitand ca secolul XX inseamna si Ravel, Debussy, Sostakovici, Bartok, Prokofiev… Scoala de la Viena nu m-a interesat decat in masura in care aducea ceva nou in limbajul muzical traditional, si nu ca model de compozitie de referinta. Cantam piese de Bartok sau Hindemith, dar ma hranisem mai mult cu muzica populara a tarii mele si mai tarziu, cand am ajuns in Occident, cu jazz.

Se va vedea in cateva secole ce va ramane din experimentele seriale si din acesti compozitori. Cred ca toata aceasta decadenta a muzicii romantice vieneze este un sfarsit, si nu un inceput, asa cum au vrut sa ne faca sa credem, mult timp, Boulez si promotorii Noii Muzici. Sfarsitul marii epoci a romantismului german s-a petrecut odata cu sfarsitul Imperiului German. In ce ma priveste, am fost mult mai atras de muzica franceza, spaniola si americana. Jazzul american m-a influentat si el in mare masura: Coltrane, Ellington…”, marturisea Vladimir Cosma, vorbind despre preferintele sale muzicale.

Ceea ce apreciaza Vladimir Cosma in muzica este melodia. “Pentru mine, melodia este ca subiectul unei carti. Nu exista carte fara subiect, cum n-ar trebui sa existe muzica fara melodie. Fara melodie, muzica unui film nu este decat improvizatie. Sunt piese care nu au structura si nici coloana vertebrala. Muzica buna de film nu trebuie sa fie doar descriptiva, ci trebuie sa aiba existenta sa proprie. Trebuie sa fie ca un comentariu poetic in raport cu imaginea. Exista filme care se pot lipsi de muzica, la fel cum muzica de film se poate lipsi de imagini. Dar arta cinematografica este adevarata atunci cand reuneste toate artele si bineinteles muzica.”

Pentru Vladimir Cosma muzica trebuie sa incite la visare si la bucuria de a trai. “Cinematograful impune compozitorului limite si constrangeri, printre care, cea mai importanta este minutajul. Filmele de comedie nu au nimic degradant, cele ale lui Funes sunt astazi pelicule clasice, iubite de public. Astazi rasul nu este luat in serios, dar cand compui muzica pentru filmele lui Godard sau Resnais, aceasta te propulseaza in randul intelectualilor si a filmelor subventionate drept filme de autor”.

Vladimir Cosma a adus cu brio muzica folclorica in cinema, reluand teme romanesti, cu instrumente populare, asa cum sunt naiul si tambalul, ca in “Marele Blond…”, dar a compus, in ultimii ani si muzica simfonica. “Atunci cand trompetistul Bernard Soustrot mi-a comandat, in 1996, «Concertul pentru trompeta», eram pe punctul de a ma apleca asupra folclorului spaniol, gitan si flamenco, pe care le cercetasem pentru muzica la filmele «Nisipurile miscatoare» si «Bucatarie si dependinte». Folclorul este bogat atat in plan ritmic, cat si melodic”. Intrebat de jurnalisul de la Universitatea din Metz daca are de gand sa compuna si alte piese simfonice, acesta a replicat: “Am scris acum cativa ani «Oblique», un concert pentru violoncel si orchestra, marcat de scriitura anilor 60 unde se regasesc influentele muzicii spaniole. Am scris «Court-Metrage», un cvintet pentru alamuri, creat la Narbonne, care reia tema filmului «Montparnasse Pondicherry». Am mai compus o «Suita simfonica pentru concert», adaptata dupa tema «La gloire de mon pere» si «Le chateau de ma mere si un «Triptic» de influenta romaneasca, pe tema «Balului». Tambalul da originalitate acestei piese. Pentru versiunea de concert nu am incercat sa recreez aceasta culoare ci, mai curand, sa retranscriu viata pe care o degaja acest instrument.                                                                                                                                                                                                                                              

       

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