"Entre Tempos"

Short film by Joana Castro, Universidade de Aveiro.

This project emerged within the context of Ethnomusicology, inspired by my personal experiences and artistic vision. It represents my perspective on the city of Weimar, Germany, where I lived for six months, immersing myself in a rich cultural environment shaped by art and music. During this period, I experienced a unique reality where musical culture was an integral part of everyday life.

Weimar is renowned for its profound historical and cultural legacy. The city played a pivotal role in the rise of German art, literature, and music. Figures such as Goethe, Schiller, and Franz Liszt left an indelible mark, contributing to its status as a hub for creativity and intellectual exchange. Furthermore, Weimar is home to the Bauhaus University, a symbol of innovation and creative freedom since its founding in 1919 by Walter Gropius.

The concept for this project stemmed from my desire to explore and portray Weimar’s evolution through music, juxtaposing its classical heritage with its modern identity. I aimed to create a visual and auditory narrative that captured the essence of this contrast – the interplay between tradition and contemporary life, or what I call "Entre Tempos" (between times).

For this purpose, I revisited Weimar over four days, documenting its vibrant culture through a short documentary. The narrative centers on the daily life of a classical guitar student at the Franz Liszt Academy of Music, offering an intimate glimpse into the routine of a musician in this historic city. I accompanied her through rehearsals, warm-ups, concerts, and collaborative sessions with other instrumentalists, such as clarinet players and choral groups.

The film also captures the sounds of Weimar itself. Despite its small size, the city is always alive with artistic expression—concerts, installations, exhibitions, and gatherings fill its streets and venues. Even the parks resonate with the chatter of residents unwinding after a busy day. The dichotomy between day and night is striking: during the day, the city echoes with classical instruments and serene melodies reminiscent of the Romantic era, while at night, it transforms into a lively hub of German techno, convivial laughter, and vibrant nightlife.

The documentary begins with non-diegetic music: Bach's Prelude BWV 998, performed by Beatriz Pinto, set against visuals of Weimar's classical architecture and tranquil atmosphere. This is followed by narration of Laura Balle, a Stuttgart native, who shares insights into the city's history. The film transitions to a rehearsal scene featuring classical guitar and clarinet students interpreting “Café 1930” by Astor Piazzolla, bridging the gap between the classical and modern eras. The final segment portrays Weimar's bohemian nightlife, accompanied by “German Underground Techno, Fear N Loathing in Berlin”, the only non-original soundtrack in the film. The credits roll to the choral performance of Weiße Fahnen by the Franz Liszt Choir.

This project was a profoundly rewarding experience, reminding me of music's omnipresence and its ability to evoke memories and emotions. It also allowed me to explore a new form of creativity—documenting and sharing the daily lives of musicians, which is, in itself, an art.