Shapley wrote:I'm a big fan of the film features. I think film music is the classical music of our time.
We had a thread on this a few years ago. My viewpoint is that much of what we consider classical was, in fact, movie music for live entertainment, such as ballet, plays, operas, etc. I refer to the overtures, incidental music, etc.
Not all the film music will attain 'classic' status, but then neither did all of the music of the Romantic, Classical, and Baroque eras.
I'm sure there are those who find the idea of listening to a ballet without the dance to be as bad as listening to film music without the movie. I believe, however, that some music, such as the opening theme, the entre' acts, and the end credits to be written as stand-alone pieces. Particularly the end-credits, which are often written as pieces designed to entice the viewer to remain in their seat through the credits.
Hishtapchus Hanefesh means “outpouring of the soul” in Yiddish-inflected Hebrew. I usually avoid titles that describe the intended effect of the music, but this title was pretty insistent on being the title for this piece, so I let it be. The piece forms an arch beginning quietly and relatively low in register. The piece then progressively intensifies and rises to a climax from which it descends in a free mirror-image of the rise. The solo cello’s opening three-note motive permeates the piece, while the harmonized reply of the four accompanying cellos hints at the overall harmonic trajectory of the piece.
classicalfan wrote:When you listen to a classical radio station...what do you want to hear?
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