Tecnica, stile e ideologia nella musica sinfonica in video: la Quinta Sinfonia di Beethoven

The research focuses on a selection of screen versions of Beethoven's Fifth Symphony; through a detailed analysis of these versions, the research aims at outlining and clarifying the structural mechanics of the screen version of a performance, in a technical and cultural perspective. The research takes as a basic assumption that filming music implies a specific authorship †" comprising all the individual contributions of the team components †" that sums up with the two other layers of authorship implied by musical performance, composition and performance. I call the level of screen production, the «third authorship». The research analyzes the interaction and the relationships between the three authorial levels in each recording. The aim is not to reconstruct philologically the intentions of the material third author, but rather to bring to light technical, musical and cultural decisions that could are embodied in the film, even when their authors were not fully aware of them. A thorough analysis of the recordings proves the initial hypothesis, i.e. that most telecasts are made along what can be called a standardized approach or even a «solita forma». There are several conventional features, the most relevant being two: a link with the whole rite of the concert, which is followed and televisually embodied, creating a new and specific mediatic aura; and the pervading paradigm of classical music as “pure” music, music that is to be understood in its own terms.