Unsung 'Cinematic Symphonies': Symphonies which sound like film music

[konstantin1991]

Hello all,
I'm new in this forum and open this topic since I'm interested in discovering music new to me. I am a big fan of obscure symphonies with strong melodies, interesting harmonies and astounding orchestration (I especially like extensive use of percussion); sounding like film music, but being formally more complex than film music.
So I'm interested in your opinion, what are your favourite symphonies sounding like a score for a film, but are examples for mastery of the musical form.


Here are IMO 'cinematic' symphonies, I like very much:

Atterberg 1-9 (esp. 3,5,6,7):
   For me the greatest cycle of Symphonies in the 20th century. Maybe not so    much innovation, but throughout perfection.

Bendix 1,3:
   A little conservative, but innovative in form and with strong orchestration and very memorable melodies.

Korngold:
   One of the greatest symphonies of the 20th century (especially the inner movements). Although complex and partly very dissonant, it gives a very satisfying listening experience.

Enescu 1-5, Study Symphonies 1-4 (I have not heard the 2nd and 3rd yet, but expect them to be of same kind):
   One of the great symphonists, but today neglected. The study symphonies are the work of a teenager, but are very good orchestrated already and throughout full of memorable material. The three symphonies with Opus number are more advanced. But although partly very complex (2nd Symphony) they are very accessible, or sound like a score to an imaginary film (1st Symphony).

Braga-Santos 1-4:
   For me Braga-Santos was a great discovery. The hymn at the end of the 4th Symphony is the most effective ending of a symphony i've ever heard. All Symphonies 1-4 contain memorable material, have an interesting rhythmical drive and are innovative in their use of orchestra.

Copland 3:
   Copland has very unique orchestral tone and the music of the 3rd symphony is full of beautiful melodies embedded in interesting dissonances.

Klami 1,2:
   Another major discovery for me. These to epic Symphonies are something like a Nordic Shostakovich and belong to my favourites.

Mahler 1,2:
   I'm still not totally stuck into the world of Mahler. I really like his orchestration (maybe the greatest master of orchestra sound of all time), but his musical content often bores me, so the only to symphonies by Mahler i frequently listen to are the 1st and 2nd.

Magnard 4:
   Magnard was a great discovery for me too. His sound is not really comparable with any other composer I know. I like all 4 symphonies of him very much especially for their medieval tone, but I think only the 4th is 'cinematic'.

Martinu 1-6 (esp. 1,4):
   One of the great symphonists of the 20th century and in his unique style non-competitive. His orchestration especially the prominent role of the piano create very interesting atmosphere. IMO he is especially a master of the scherzo.

Nielsen 2,3,4:
   First I was not a big fan of Nielsen, but now i got into his music. I still does not like his 5th and 6th, but especially the 3rd and 4th (the timpani duel is one of the greatest moments of his symphonic writing).

Rachmaninoff 1-3:
   Of course one of the greatest late romantic composers, but his symphonies are often underrated. I think he wrote the greatest Russian symphonies beside Shostakovich.

Peterson-Berger 1-5 (esp. 3):
   One of the three Swedish late romantic symphonists of the 1st generation (beside Alfven and Stenhammar). Of all three I like his symphonies most, being more accessible and Nordic than Alfven and more innovative than Stenhammar.

Rangström 1-4 (esp. 2):
   Beside Atterberg IMO the 2nd symphony by Rangström is the greatest Swedish symphony. I think his other symphonies are of much lower quality but still interesting.

Hurum:
   If you don't know it you should buy this disk. The by French impressionism influenced Norwegian composer created a masterpiece in his symphony. Very good orchestration and a lot of memorable themes.

Halvorsen 1-3 (esp 2,3):
   I think Halvorsen wrote the symphonies Grieg didn't. Partly very conservative but throughout with rich orchestration and strong melodies.

Shostakovich 5,7,8,11,12:
   Of course one of the greatest Symphonists of all time. I like the listed symphonies most and think that especially 5, 11 and 12 are scores to imaginary films.

Respighi 'Sinfonia drammatica', 'Suite Sinfonia'
   
Karlowicz 'Rebirth Symphony'
   A great work, which is deeply romantic. Although it is very long-breathed in some parts I like it, especially the epic conclusion and the slow movement.

It would be very interesting to read, which comparable symphonies do you know and what are in your opinion the greatest (unheard) 20th century symphonies, sounding like film music.

[Alan Howe]

Welcome to Unsung Composers!

Firstly, might I ask you, please, to re-read our remit as to what is acceptable for discussion here:
http://www.unsungcomposers.com/forum/index.php/topic,3681.0.html
This means that Copland, Martinu and Shostakovich don't belong here, I'm afraid.

Secondly, the majority of the works you list cannot really be described as 'cinematic' in any meaningful sense. I can see why certain very late-romantic symphonies might attract that label on account of the heavy, lush orchestration that they share with film composers such as Rozsa, Newman, Steiner, etc. - indeed Korngold fits in both categories. Thus, there might some justification for naming, say, Atterberg, Rangström, Braga Santos or Respighi, but not the others.

[eschiss1]

"wrote the symphonies Grieg didn't"-
I trust you're aware Grieg did write a symphony, just that he shelved it. It's been resurrected and recorded a number of times, though.

One of Myaskovsky's earlier symphonies (no.3 of 1914) concludes with a (depressing and also noble) funeral march I've sometimes thought would serve _very_ admirably in an appropriately-paced (more Tarkovsky-ish than Hollywood-ish- one with an appropriate sense of scale rather than HURRY) film.

(And as to Korngold, I think he did reuse material from some of his earlier, non-cinematic works- including his early Sinfonietta in B?- in his later films, and vice-versa... other composers too, I shouldn't doubt and even seem to recall, just as Prokofiev used operatic and ballet music that wasn't getting staged in -his- symphonies (including no.3, which I am very fond of), etc.)

[konstantin1991]

Yes I know Griegs Symphony. But it is a rather early piece ( I think he was 20 or so when he wrote it) and I think that Halvorsen is a musical successor of Grieg.

[Alan Howe]

I'm afraid this topic really won't go anywhere unless there we can agree on a working definition of 'cinematic' - after all, almost anything goes in terms of musical styles employed by film composers today.

I'm assuming, therefore, that what is meant is symphonies written broadly in the style of earlier composers for the cinema such as those I mentioned before, i.e. Rozsa, Newman and Steiner, whose music is a development of the late-romantic tradition of Wagner, Richard Strauss, etc.

[konstantin1991]

Yes I have to be more specific in what i mean by 'cinematic'.
For me it means, that the Symphony has a rich orchestration and strong thematic material and is melody driven. So yes i manly thought of film music developed from late-romantic tradition. Examples of up-to-date film music i had in mind, were something like Shores 'Lord of the Rings' or  the more romantic scores of John Williams (like Jurassic Park).

[Alan Howe]

OK, that's fine. Let's see what other contributors have to say...

[Delicious Manager]

I am happy to say I've heard all the symphonies you mention, but only a very few seem to me to be in any real sense 'cinematic' (Korngold, Respighi, Shostakovich 11 and 12). Also, I find Hurum occasionally brings to mind Sibelius more than anything French.

Sorry, I don't 'get' it.

[rosflute]

Can I suggest firstly that 'cinematic' should probably refer only to works written in the c.20th and c.21st that specifically employ 'cinematic' sounds. Visit any virtual instrument supplier and you will find that textures and effects such as 'cinematic horns' are quite specific.
Secondly, works that may happen to be programmatic or dramatic in character, cannot be regarded as 'for the cinema' unless they were written specifically for that purpose. I guess Mahler might have been a bit upset to hear someone suggesting that the Symphony 5 Adagietta is 'cinematic'!

[MartinH]

The most cinematic symphony of them all: Bloch's Symphony in C sharp minor. The Dalia Atlas/LSO recording is terrific.

[Alan Howe]

The only definition that'll fit here at UC is the one I suggested, i.e. symphonies written broadly in the style of earlier composers for the cinema such as those I mentioned before, i.e. Rozsa, Newman and Steiner, whose music is a development of the late-romantic tradition of Wagner, Richard Strauss, etc.

Let's stick with this, please.

[minacciosa]

Why? Let's open it up, broaden it beyond; it's gotten stuffy in here.

[Alan Howe]

Fine. But please respect the remit of this website. If it's too stuffy around here, there are other online forums which might suit you better...

[eschiss1]

the Bloch certainly already falls within our remit (1903), if not in this subject then for independent discussion (which- I'd need to check- it's probably already had.) (Well, "certainly" is a word I overuse; I do not claim to understand the supposedly "clear" remit. I would ask about it, but as it is beyond discussion, I no longer do.)

[Alan Howe]

The Bloch is clearly a candidate...