Dance of Harmony
Via Michael Levy: "One day when I was sixteen, I realized that I could see music. The saxophone I played and the jazz I loved listening to came to life before my eyes, or perhaps behind my eyes, in shape and color — little animated characters at first, then something more abstract. By the time I was nineteen, I perceived even letters, numbers, and days of the week to have distinct colors. 5 is blue, 3 is red, without a shade of doubt. It was years until I learned that I was not alone — I had a rare neurological condition called synesthesia, a sort of crossing of sensory channels in which stimulation in one channel produces a response in another. Synesthetes can thus hear colors, see sounds, or taste smells, depending on the variety of synesthesia they have.
As a child playing the piano, long before my first conscious synesthetic experience, I was fascinated by how even the tiniest alteration in the position of my fingers could change the harmony completely. These shape-shifting harmonies had emotional undertones for me – I felt like they were taking me on a journey, telling me a story, nowhere more powerfully than in the most famous Bach prelude. It became a dream of mine to create an animation that conveyed this emotional voyage of harmony.
During my recent maternity leave, I embraced this challenge with the help of my dear friend Hagai Azaz, an animator. My guiding question was whether I could show the cascading flow of emotion, to make the feeling contagious, by using only color, the basic shape of circles, and minimalist motion, assigning to each musical chord the visual elements that correspond to it synesthetically. For me, music is a multidimensional experience — an ever-changing flow of shape, form, and color moving through space. Dance of Harmony seeks to bring this experience to life for those who can’t experience synesthesia directly.
There is also a private requiem buried in the piece: The Bach recording I had chosen features an extra bar, which another composer – the editor of a sheet music publishing company – had added a few decades after Bach composed it. People seemed to like it, so his version survived. When I chose this recording and made the film, I knew none of the backstory — but I did feel that one bar was amiss, somehow tensed. I called it the bleeding heart. It became the only part of the animation where the circles stop moving and pump in place against a rich red background. “The bleeding heart” falls between bars 22 and 23. My brother died between the ages of 22 and 23 during an earthquake in Christchurch, New Zealand. Although it came about by chance, this synchronicity now lends a new layer of meaning to the animation as an abstract representation of my family’s story – configured one way growing up, then having to reconfigure as we incorporate the heartbreak of the loss into our lives."
You might also want to consider One and Giant Steps by Michal Levy. Wonderful, and in the tradition of Visual Music godfather Oskar Fischinger.