{"id":52671,"date":"2025-09-04T14:04:49","date_gmt":"2025-09-04T14:04:49","guid":{"rendered":"https:\/\/cremonamusica.com\/a-symphony-on-film-interview-with-bruno-monsaingeon\/"},"modified":"2025-09-04T14:09:52","modified_gmt":"2025-09-04T14:09:52","slug":"a-symphony-on-film-interview-with-bruno-monsaingeon","status":"publish","type":"post","link":"https:\/\/cremonamusica.com\/en\/a-symphony-on-film-interview-with-bruno-monsaingeon\/","title":{"rendered":"A Symphony on Film. Interview with Bruno Monsaingeon"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>by Aurora Anello<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">&#8220;My musical activity is expressed in three different directions: whether I play, write a book, or record a film, I am still a musician.&#8221;<\/p>\n\n<p class=\"wp-block-paragraph\">Director, writer, and violinist, Bruno Monsaingeon, 81, from Paris, has dedicated the last thirty years of his career to versatility. His numerous documentaries on some of the most important musical figures of the 20th century are famous, including Glenn Gould, Sviatoslav Richter, David Oistrakh, Yehudi Menuhin, Francesco Libetta, Grigory Sokolov, Maurizio Pollini, and David Fray. <\/p>\n\n<p class=\"wp-block-paragraph\">This year, he will be judging the sixth edition of the <strong>PianoLink International Amateurs Competition<\/strong>, which will take place as part of the <strong>Cremona Musica<\/strong><strong> I<\/strong><strong>nternational Exhibitions and Festival 2025.<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\"><strong>Where did the desire to create films about these great musicians come from?<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">I had no talent for composition, nor was it enough for me to simply be a performer. However, I wanted to leave something permanent. The opportunity came when I met Glenn Gould in 1972. It was he who convinced me to make a series of films about Johann Sebastian Bach, followed by a film about the Canadian pianist himself. I realized that this had become my way of composing. In a film, structure is as important as it is in a symphony. The realization that I had no talent as a composer thus became the source of my filmmaking.      <\/p>\n\n<p class=\"wp-block-paragraph\"><strong>You had the opportunity to get to know different artists from various perspectives, not just as a simple listener. What did the creation of these works teach you, both on the human and musical levels? <\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">I learned a lot from Glenn Gould, because he had a complete understanding of musical communication. He directed radio programs, and it was thanks to him that I learned film editing; we talked about it on the phone for weeks. <\/p>\n\n<p class=\"wp-block-paragraph\">Around the same time, I began my intense work with Yehudi Menuhin, which first featured in several television programs and then in fifteen films. Yehudi was an angel, the most generous of all. He saw sound not as something that belonged to him but as something he needed to share. For him, playing was like giving a gift.   <\/p>\n\n<p class=\"wp-block-paragraph\"><strong>You were already a member of the jury for the PianoLink competition in 2020. What do you expect from this edition? <\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">I listened to talents that it would be an understatement to call amateurs. It was wonderful: I remember that the first prize was won by a guy from Los Angeles who played Bach&#8217;s Goldberg Variations and the Alban Berg Sonata. I have very high expectations for this new edition!  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Aurora Anello &#8220;My musical activity is expressed in three different directions: whether I play, write a book, or record a film, I am still a musician.&#8221; Director, writer, and violinist, Bruno Monsaingeon, 81, from Paris, has dedicated the last thirty years of his career to versatility. His numerous documentaries on some of the most [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":52669,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[325],"tags":[],"class_list":["post-52671","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-intervista-en"],"_links":{"self":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/posts\/52671","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/comments?post=52671"}],"version-history":[{"count":1,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/posts\/52671\/revisions"}],"predecessor-version":[{"id":52672,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/posts\/52671\/revisions\/52672"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/media\/52669"}],"wp:attachment":[{"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/media?parent=52671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/categories?post=52671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cremonamusica.com\/en\/wp-json\/wp\/v2\/tags?post=52671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}