I preface this by stating that forums such as this make me realize how little I've scratched from the "classical" music surface. There are so many unsung composers and musical works, that I might be content (and never truly exhaust) with what exists outside of film scores. I am applying this to the "romantic" sound that is prevalent in so many works. That being said....
My first introduction to symphonic music was likely through the movies I enjoyed as a child. John Williams' scores for Star Wars, Indiana Jones, you name it, were so catchy. Even now, it's interesting to see how my own kids catch onto the music. Humming the "Imperial March" after just watching the movie, etc.
What are your thoughts on film music? Is it a legitimate form of classical music (I know Aaron Copland argued that in "What to Listen For in Music")? Will you listen to it separate from the film?
For me there is one real hit: the very famous Warsaw Concerto for piano and orchestra for the film Dangerous Moonlight (1941) by Richard Addinsell (1901-77). I have never seen this film, but the plot has something to do with a RAF pilot fighting against the Nazis in occupied Poland.
I don't care much for film music, but that is because I'm more begeistert by music in the style of the 19th century.
Well, there are many more than just one "real hit" in movie scores. I actually would not know where to start to recommend some wonderful music written for the screen.
But, for one outstanding example, the Hollywood career of Erich Wolfgang Korngold is something to behold. Korngold's film scores are celebrated as some of the best ever produced. For a good sampling of these magnificent works, I'd suggest you get a hold of the following CD:
http://www.amazon.com/Sea-Hawk-Erich-Wolfgang-Korngold/dp/B00000E6G0/ref=sr_1_1?ie=UTF8&s=music&qid=1245608750&sr=1-1 (http://www.amazon.com/Sea-Hawk-Erich-Wolfgang-Korngold/dp/B00000E6G0/ref=sr_1_1?ie=UTF8&s=music&qid=1245608750&sr=1-1)
Then, immediately listen first to the second track - a compilation of themes from "Of Human Bondage." If you don't exult in this music, I'll personally refund your purchase price!
But, gosh! - so many more composers who wrote exquisite screen scores - Miklos Rozsa, Elmer Bernstein, Dmitri Tiomkin, Richard Rodgers, Victor Young, John Barry, John Williams and on and on...
I'll say that film music is legit. It's just as legit as the incidental music composers used to write for the theatre. Beethoven, Mendelssohn, Grieg, Tchaikovsky, Sibelius, Shostakovich for example wrote in that genre, so how is film any different? In fact, some composer's best work was in films. I am a big fan of older films (1935 - 1960) and there's no question that a lot of my liking has to do the quality of the music. Where would Bette Davis be without Max Steiner? Or try to imagine those great Hitchcock movies without Bernard Herrmann. There are a lot of film scores that stand just fine on their own, but more often the composer or some other arranger has put the music into a more useful form for listening. Then there are some scores that just are not worth it. For example, I love the old British Hammer horror films...watch them regularly. I also have a disk of music from them, mostly by James Bernard. Hate it -- very difficult to listen to as music, but boy does it work in the film.
Here are a few of my favorite film scores that are just as exciting, beautiful and worth listening to as anything:
1) Franz Waxman, Peyton Place. Try to get the Waxman recording, the Varese Saraband, good as it is, isn't as good as the composer's.
2) Max Steiner, Gone With the Wind. You must find the RCA recording with Charled Gerhardt. This is a really great extended 40 minute suite.
3) Korngold: Kings Row. I love this soundtrack. Again, you have get the Gerhardt, but is it still out there?
4) Korngold, again: Robin Hood. The Naxos is superb.
5) Herrmann: Vertigo. Varese Sarabande is excellent.
Then there are a multitude of compilation disks. I'd seek out the entire RCA film classics series from the 1970's. There were some sensational records made. The Waxman Sunset Boulevard is brilliant.
Don't be ashamed or embarrassed by film music. Frankly some of the best composing in the last century came from the cinema.
The real film music buff on the Forum is Yavar. Lemme see if I can't get a hold of Mr. Moradi and have him post here. The guy's a walking encyclopedia of film music, recordings and so forth. He even has personal contacts with a guy who runs a label that is issuing CDs of nothing but film scores. He's your man.
http://www.chandos-records.com/details06.asp?CNumber=CHAN%2010529
Here is another wonderful set for all to ease themselves into the world of film music. A classical composer of the first order but he dabbled in film music. There is an entire series of film music CD's available from Naxos which I strongly recommend. They are what is called 'reconstructed' from the original soundtrack and recorded with a modern orchestra in digital. I admit to having over 2000 soundtrack CD's in my collection and while I agree that some are difficult to listen to many are not.
For Mr. H there are some recordings of the music from the Universal horror movies of the 30's and 40's on Naxos. You can relive the Mummy, Frankenstein, Dracula, and Wolfman. If anyone has any questions please let me know.
Thomas
There is also Bernard Hermann's splendid music for Citizen Kane. You can youtube Kiri Te Kanawa singing the big fake opera aria, complete with high D at the end. Terrific stuff!
Steven
Quote from: sdtom on Tuesday 23 June 2009, 16:47
http://www.chandos-records.com/details06.asp?CNumber=CHAN%2010529
I admit to having over 2000 soundtrack CD's in my collection and while I agree that some are difficult to listen to many are not.
Wow Thoma! Over 2000? That is amazing! I don't even have that many classical CDs. I have maybe ten soundtracks and most of those are Star Trek. I had seen the Naxos ones on Naxos Direct and was interested in checking some of them out. I think some are listed in their current $2.99 sale.
Kevin
The entire Naxos series is a good one which offers a wide range of the golden age material of the 30's through 50's.
http://sdtom.wordpress.com/2009/06/29/the-prince-and-the-pauperkorngold/
This recording I feel is especially interesting for both film and classical people.
Thomas
Quote from: sdtom on Monday 29 June 2009, 17:45
http://sdtom.wordpress.com/2009/06/29/the-prince-and-the-pauperkorngold/
This recording I feel is especially interesting for both film and classical people.
Thomas
I may look out for this or other Korngold works. I have a couple of his works, but nothing from his films (unless I have specifically re-worked film scores into independent orchestral pieces and I don't realize it).
Thanks.
Whilst not being a film buff myself, I really must admire the clever workmanship shown by movie composers in fitting in the music to mirror the mood of the action at any point during the performance. I particularly notice this on television when something like a natural history programme is being shown. I know the camera men put in enormous efforts to get their shots exactly right but the composer, who has to use all his skills to provide the appropriate background music, never gets more than a tiny fleeting mention right at the end of the credits.
Film music can sometimes give rise to quite substantial works of art. E.g. Vaughan Williams produced his Sinfonia Antarctica from his incidental music for the film Scott of the Antarctic.
I suppose the job of a present day film composer is roughly equivalent to that of the old cinema pianist who had to keep changing his tune to fit in with the action in the days of the old silent movie. No Jim, I'm not quite old enough to remember them! :)
Korngold's Violin Concerto reworked themes from several of his film scores, including an Errol Flynn pirate flick!
The Korngold Violin Concerto contains material from Another Dawn, Juarez, Anthony Adverse, and The Prince and the Pauper. Korngold made a bargain with the Warner Brothers that allowed him to reuse his material in his concert pieces.
Thomas
Quote from: mbhaub on Sunday 21 June 2009, 20:13
I'll say that film music is legit. It's just as legit as the incidental music composers used to write for the theatre. ... Shostakovich for example wrote in that genre
He also wrote 34 film scores!
And some of Prokofiev's best work was originally written for the cinema.
Quote from: sdtom on Thursday 02 July 2009, 15:45
The Korngold Violin Concerto contains material from Another Dawn, Juarez, Anthony Adverse, and The Prince and the Pauper. Korngold made a bargain with the Warner Brothers that allowed him to reuse his material in his concert pieces.
Thomas
I thought it also made use of material from
The Sea Hawk.
And now an amusing bit of information retrieved about the director of
The Sea Hawk, Michael Curtiz:
"Ever since Michael Curtiz landed in Manhattan on the Fourth of July, 1928, and pretended that he thought the fireworks were in honor of his arrival, he has been a natural for joshing Warner press-agentry. Everyone in Hollywood knows that the first thing he did when he got there was to buy a Packard which he kept bringing back to the shop until a curious mechanic found that he never shifted the gears beyond second. Son of an architect, graduate of Budapest's Royal Academy of Theatre and Art, a famed European director when the Warners tapped him to replace Ernst Lubitsch, Michael Curtiz
(né Kertez) is the butt of more Hollywood stories than Sam Goldwyn. The only one Michael Curtiz bothers to deny is that he once worked as a circus strong man.
Warner jokers once hung signs on a Curtiz set reading "English Broken Here," "Curtiz Spoken Here." Some Curtizisms: "Next time I send some fool for something I go myself," "Sit a little bit more femine (feminine)," "Act easy-go-lucky." Prop boys on a Curtiz set are supposed to know that "boy cows" are not steers but cow boys. Malapropism is not Curtiz' only peculiarity. He addresses everyone at Warner's up to Bette Davis as "you bum," gives the best borscht bawlings-out in the business. He takes no lunch, tried to coax actors to have an aspirin instead, uses "after-lunch actor" as his supreme epithet of contempt. When anything goes wrong on the set, Curtiz is immediately convinced that he is being jinxed by the presence of his personal secretary, whom he calls "Dracula," stops everything to find him. Once John Barrymore, visiting a Santa Monica dance marathon as it passed the 200-hour mark, encouraged one of the contestants by remarking: "You don't know what it is to be tired unless you've worked for Curtiz." Big, balding, muscular Director Curtiz is married to but living apart from Scena rist Bess Meredyth. Only extravagance he permits himself on his $3,000 a week is his two-goal polo."
Note the original spelling of his name in bold, courtesy of your's truly. I wonder if he's any relation to Istvan Kertesz?
Quote from: Peter1953 on Sunday 21 June 2009, 16:28
For me there is one real hit: the very famous Warsaw Concerto for piano and orchestra for the film Dangerous Moonlight (1941) by Richard Addinsell (1901-77).
I have seen the film. If I remember correctly, the composer in the film (Stefan Radetzky) writes a full blown late Romantic piano concerto in three movements, but the only bit we get to hear is the Andante, and that was released as the Warsaw Concerto. The outer movements weren't needed for the film, so they weren't written. I find it amazing that no one commissioned Addinsell to write the missing movements.
At the time it was commonplace for feature films to include newly composed classical music for piano and orchestra. A particularly fine example is the Cornish Rhapsody, by Hubert Bath, from a film called Love Story (1944). Also worth checking out are The Spellbound Concerto, by Miklós Rózsa, from Spellbound (1945), The Dream of Olwen, by Charles Williams, from While I Live (1947), and The Mansell Concerto, by Kenneth Leslie Smith, from The Woman's Angle (1952).
Also not to be missed is the aria from Salammbô in Citizen Kane (1941).
A more recent example of a piano concerto derived from a film score is The Piano Concerto by Michael Nyman, from the score of The Piano.
Quote from: Hovite on Wednesday 08 July 2009, 23:53
A more recent example of a piano concerto derived from a film score is The Piano Concerto by Michael Nyman, from the score of The Piano.
I think I actually own this one. I've never seen the movie though. ;D
Oh you should get it! Holly Hunter and Harvey Keitel are great, but the movie is most noteworthy as the film debut of Anna Paquin. I believe she was the youngest or second youngest actor/actress to win an Oscar for her performance. I think she was 11 at the time.
http://sdtom.wordpress.com/2009/07/09/violin-concerto-in-d-major-op-35korngold/
My review of the new Quint release of the Korngold Violin Concerto
Thomas