[Fmpro] composed for film or conert hall

[Brian Phraner]

Thanks for the examples, Brian.  I hadn't thought about the ballet and the choreography effect to those scores, but I find that an interesting twist to ponder.  I'll have to go on Rhapsody and have a listen to some of those you mentioned.  Perhaps I'll start with Korngold...

Thanks again,

Brian Scott Phraner
friends in the garden
206-310-6395

----------------------------------------
> From: CORBERAMA at aol.com
> Date: Sun, 27 Jul 2008 16:06:37 -0400
> To: fmpro at nxport.com
> Subject: [Fmpro] composed for film or conert hall
> 
>  
> In a message dated 7/27/2008 5:04:01 AM Pacific Daylight Time,  
> fmpro-request at nxport.com writes:
> 
> Occasionally when I listen to particularly good film score, I wonder  what 
> that music would have been like and where the composer would have taken  it had 
> it had not been written to fit a scene in a movie.  You have to  credit the 
> film for being both the creative reason for the score as well as  the blueprint 
> of the form it takes.
> 
> 
> Although it might be speculation, I think there are some  compositions that 
> have gone both ways as examples of music in both  worlds.
>  
> Several great film scores have been reworked by their composers for  the 
> orchestral world, whether as suites or full symphonies or  concerti.
>  
> And vice versa.
>  
> Rozsa's Violin Concerto became the basis for his score to   Billy Wilder's 
> The Private Life of Sherlock Holmes.
>  
> At least one of Bernard Herrmann's smaller pieces became the  basis of some 
> parts of his score to Hitchcock's Psycho.
>  
> In the other direction we have as examples
>  
> Korngold's music for a few WB films of the 30s such as The Prince  and The 
> Pauper ending up as the basis for his Violin Concerto.
>  
> Vaughan-Williams's score to Scott of the Antarctic ending up as his  Sinfonia 
> Antarctica, sym #7.
>  
> Rozsa's core to Spellbound ending up as a piano concerto, his score  to 
> Jungle Book ending up as a symphonic suite, symphonic suites made from John  
> Williams's Star Wars and Close Encounters.  There are many others, many of  which 
> are suites of the scores arranged for the concert hall or embellished into  a 
> symphony or concerto for concert hall.
>  
> Whether or not the other example would have been the same had its  origins 
> been in that particular venue is speculation.
>  
> It is not easy to say what a particular piece of music for a film  would have 
> been like had it been composed for concert hall and vice  versa.
>  
> You may as well ask how different the Nutcracker would have been  had 
> Tchaikovsky not composed it as a ballet, the same for so many other  classical 
> compositions, including the Rite of Spring, Swan Lake, and  others.
>  
> PROTECT  YOUR RIGHTS
> Brian Lee Corber
> attorney at law
> Los Angeles,  California
> 
> e-mail: corberlaw at aol.com
> 
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> 
> (single  entertainment law questions answered and contracts reviewed by 
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