Editing Zbigniew Preisner (section)

==Van den Budenmayer==
Van den Budenmayer is a fictitious 17th-century Dutch composer created by Preisner and director [[Krzysztof Kieślowski]] for attributions in screenplays.<ref name=musicolog>{{cite web|last=musicolog.com |title=Zbigniew Preisner |url=http://www.musicolog.com/preisner.asp }}</ref> Preisner said Van den Budenmayer is a pseudonym he and [[Krzysztof Kieślowski|Kieślowski]] invented "because we both loved the Netherlands". Music "by" the Dutch composer plays a role in three [[Krzysztof Kieślowski|Kieślowski]] films. The first is ''[[Dekalog]]'' (1988). The second is ''[[Three Colours: Blue]]'' (1993) in which a theme from his ''musique funebres'' is quoted in the ''Song for the Unification of Europe''. Its E minor soprano solo prefigured in the earlier film ''[[The Double Life of Veronique]]'' (1991), where circumstances in the story prevent the solo from finishing. The third is ''[[Three Colours: Red]]'' (1994).<ref>{{Cite web |last=Greiving |first=Tim |title=Under the Sign of Sadness: Zbigniew Preisner's Three Colors Scores |url=https://www.criterion.com/current/posts/8063-under-the-sign-of-sadness-zbigniew-preisners-three-colors-scores |access-date=2023-02-22 |website=The Criterion Collection |language=en}}</ref><ref>
{{ cite video | people=Krzysztof Kieślowski | year=2003 | chapter=A Discussion on Working with Kieślowski | title=Trois Couleurs: Blanc | medium=DVD extra | publisher=Miramax | location=Burbank CA | volume= <!-- Disk 1 of 1 --> | time=15:12–17:32 | isbn=0-7888-4146-7 | quote=They had this private joke about – well it wasn't that private because they put it into the films – about a composer, Van Budenmayer. [sic] (Geoff Andrew) It was like a red little thread, as we say in French, you know, that we – a little something we can see in many films. (Irène Jacob) It was for ''Dekalog'' number nine, where the secondary character of Ola, a beautiful young woman who is about to have elective heart surgery tells the doctor that she sings the music of Van den Budenmayer. And in the next scene, you see the doctor listening to the album of this music, which, by the way, in the screenplay, was not Van den Budenmayer at all. It was Mahler, or something. In other words, this was after the script was written that they started to have fun with the fictive Van den Budenmayer, a Dutch composer. Well, after that they started getting letters of people asking, 'Who is Van den Budenmayer? How can I buy his music? Does it exist on cassette?' So what did they do? They brought him back in ''The Double Life of Véronique''. (Annette Insdorf) I really like this piece. It's by a very interesting composer. He was discovered only recently...although he lived in Holland over two centuries ago. (film excerpt subtitles) And then he's mentioned in ''Blue''; the character of Julie says to Olivier that she has this memento that was supposed to invoke Van den Budenmayer. (Insdorf) He told me: 'It's a memento.' Try weaving it back in. Van den Budenmayer? (film excerpt subtitles) ''White'' is the only one where Van den Budenmayer doesn't make a direct appearance, but he comes back forcefully in ''Red'' in a number of ways. (Insdorf) I'd like number 432. Van den Budenmayer. Did I pronounce it right? Yes. This one? (film excerpt subtitles) We even see a picture of him. Of course he didn't exist. It was just this little joke they had between them. (Andrew) At the New York Film Festival press conference, um, Kieślowski had a great time telling the story – and I was translating – of how he's now gotten letters from an encyclopedia, I think it is, telling him that he must cease and desist from using the music of Van den Budenmayer without paying royalties to the estate, or else they might be sued. He thinks this is utterly hilarious because there is no Van den Budenmayer, but they've been way too persuasive in suggesting that there is one. (Insdorf) | ref=White-DVD-extra }}</ref>