Film in concert: film scores and their relation to classical concert music

From the very beginning of cinema, music always played an important role in the history of filmmaking. Nonetheless, film music is judged by critics as a kind of low-grade art form. However, the majority of film score composers enjoyed a classical education and composed as well for the silver screen as for the concert hall. Film music also has its roots in the musical era of romanticism. Therefore, symphonic film scores can be regarded as program music in a broader sense. These scores were influenced by a motion picture instead of a poem, a landscape, or a painting. It is neither necessary nor supposed that film music must be subordinate to its belonging film. In fact, a well-written film score may enhance the impact of a film by using its own language—the language of music. Film music is still not truly recognized as an own style of music which is to be performed regularly in a concert hall. There are still strong prejudices about film music—too nice, too industrial, full of clichés, and unworthy to be performed live by an orchestra. This book wants to explore the nature of film music and its relation to classical music in this volume. How is film music perceived today? Does film music have its place on its own—uncoupled from its original film—in the concert hall? And how does film music relate to other musical genres in the 19th and 20th century? With contributions by Emilio Audissino, Marco Cosci, Kristjan Järvi, Irena Paulus, Gene Pritsker, Jaume Radigales, Lorenzo Sorbo, Sebastian Stoppe, and Pascal Vandelanoitte.:Sebastian Stoppe : Film Music in Concert: Introduction Sebastian Stoppe : Film Composing between Art and Business Emilio Audissino : Overruling a Romantic Prejudice: Film Music in Concert Programs Jaume Radigales : Wagner’s Heritage in Cinema: The Bernard Herrmann Case Irena Paulus : Williams versus Wagner — Or an Attempt at Linking Musical Epics Emilio Audissino : Golden Age 2.0: John Williams and the Revival of the Symphonic Film Score Gene Pritsker: On Film Music in the 21st Century Kristjan Järvi : “A Soundtrack to Our Lives...” Gene Pritsker : Composing Cloud Atlas Symphony Lorenzo Sorbo : The Dramatic Functions of Italian Spaghetti Western Soundtracks: A Comparison between Ennio Morricone and Francesco De Masi Marco Cosci : Musical Labyrinths in Time: Alain Resnais’ L’Année dernière à Marienbad Pascal Vandelanoitte : Ludwig: Consonant Music in a Dissonant Life Contributor