Re: Saddest, most tear inducing music?

gerriecollins@xxxxxxx wrote:
>
> > One thing classical has that movie music doesn't, as I've mentioned
> > already, is variation and development. (A reason for hating minimalism,
> > of course.)
> > --
> > Peter T. Daniels grammatim@xxxxxxx
>
> This is true, in part, along with many exceptions. As someone noted
> (later), I don't see too much development in some of Satie's frozen
> 'cameos', or, more starkly, some of Schoenberg''or Crumb's
> exploitations. But then, we might have a slightly different
> interpretation or aural sense of development.

I don't know about Crumb, but Schoenberg came up with a whole new
vocabulary of variation and development.

> In his score for Once Upon A Time in America, Morricone uses masterful
> variation in transforming the hauntingly beautiful, 'nocturnal'
> Main Theme into the jaunty, jazzy fox trot of Cockeye's Song. And I
> don't think it it is a stretch to see the 'development' of the Main
> Theme into Deborah's theme. Though not the kind of textbook
> development one would expect in the large classical forms, Max Steiner
> was very adroit in his development of so many themes in the score to
> Gone With the Wind.

Almost the entire score of *The Music Man* develops out of a single
motif (the opening of "76 Trombones"). But is the showgoer expected to
be aware of that?

The evolution of the motifs in Wagner's Ring is a _little_ clearer
(probably because he gives himself a whole lot of time for it to
happen), but most of the details will only appear after close study (or
hearing Cooke's analysis).

> However, I don't see or hear much development or variation in the most
> popular (??) film composer today - John Williams.

Indeed.
--
Peter T. Daniels grammatim@xxxxxxx
.

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