Nightbook

February 13, 2011 § Leave a comment

By Rebecca Liao

Every night when I closed the bar,

I would get in my car,

And I was driving at the time a 1976 off-brown Gremlin.

But I would get in my car every night and put in the music of Bruce Springsteen,

And everything changed.

And I never again felt like a loser.

When you listen to Bruce’s music, you aren’t a loser.

You are a character in an epic poem

….

About losers.

–Jon Stewart, former bartender

Anselm Kiefer’s Seven Heavenly Palaces gave birth to Ludivico Einaudi’s latest album Nightbook the way that Stewart claims Bob Dylan and James Brown gave birth to his favorite musician. In 2006, Einaudi performed amongst Kiefer’s mythically imposing towers and subsequently wrote music matching the awareness and transcendence that sitting at the comparatively tiny grand piano inspired. The result may be heard upon any visit to the iTunes store or Amazon.com. Neither can compare to the Palace of Fine Arts, where Einaudi will appear on March 15 as part of The Nightbook Tour. An exploration of the transition between light and dark, a solo piano provides the narration while the background combination of strings, percussion, and electronically-generated sound creates a world that gives that narration plausibility and definition.

Boasting a top-10 spot on Billboard’s Classical Crossover chart, Nightbook (and the rest of Einaudi’s music, for that matter), has earned the concerned side-long glance from classical music purists—all the more so because the album hit #1 on the iTunes classical chart. The stubborn ability of the music to place one in a calmer mood puts it dangerously close to New Age, but rest assured. This music will not be playing in spas, yoga class, or any other place where it is better to leave your imagination behind.

From the first note, a narrative begins to build in one’s head. Before long, however, one realizes that this story has no plot or movement. It is merely an enterprise in escape, replete with vague but cunningly potent notions of ideal thought and feeling. The mastery of this effect largely explains Einaudi’s success with soundtracks. He understands how to create music ready-made for a story to be superimposed onto it. Among his credits are the soundtrack for Fuori del mondo, an Italian film nominated for an Oscar in 2002, Luce dei miei occhi, for which he won Best Soundtrack at the 2002 Italian music awards, and the British TV series Doctor Zhivago.

Nightbook does not profess to be a soundtrack; it just quietly makes the listener a character in a tone poem about themselves. It is this ability that allows him to draw in those outside of classical music to become one of the most popular contemporary classical music composers. It is also why those who already love classical music may not be open to his sound—it is a lite incarnation that almost insults their imagination. How much fun is it, though, to escape and always meet the same story? (Oh, and yes, that Jon Stewart.)

A version of this article appeared on sfcv.org.

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