After a short agm, the meeting was presented by Alan Forshaw with a programme of #filmmusic. He discussed various film compositions of Shostakovich, Hans Zimmer and Korngold who composed primarily ‘serious’ music but who, for different reasons (political, financial, etc.) produced film scores throughout their careers. This was the first time the society has listened to an evening devoted to this genre.
Film music is a little unregarded as a part of the music scene, indeed, a quick look in Groves for Shostakovich for example, reveals only a single passing reference to his compositions for the cinema and none in the list of works. Yet for modern composers, writing for the cinema or composing advertising jingles provides them with valuable income before fame beckons (if it ever does).
Shostakovich wrote in the time of ‘Soviet Realism’ and falling foul of the censors could have dire consequences for any artist. The films are long forgotten and include Alone (1930); The Great Citizen (1938); and Piragov (1947). Alan also played extracts from wonderfully named film The Counterplan (1932) which included extracts called ‘The Workers Gather’ and ‘Song of the Counterplan’. It would be hard to imagine queuing round the block for a film of that title today. One could hear echoes of his later works in some of these pieces and it was interesting to hear them with the benefit of great symphonies such as the Leningrad in one’s mind.
By way of contrast, Alan played extracts from the award winning film composer Hans Zimmer. He has written for over a 150 films including the Gladiator; The Thin Red Line; and Rain Man and has won many awards.Extracts included The Last Samurai (2003) and The Da Vinci Code (2006). Zimmer worked briefly with a pop group known as the Buggles, famous for their No 1 hit Video Killed the Radio Star.
Finally, Korngold who was born in Brno in 1897. He was recognised early as a prodigy and had early successes with a ballet and two operas. He then moved to Hollywood and composed much film music and we heard extracts from The Adventures of Robin Hood (1938) and The Sea Wolf (1941).
It is interesting to note the difference between an opera and a film music composer. Name an opera and most people interested in music will know the composer. Name a film and few would know who wrote the music. The other problem is the music may die with the film if it wasn’t a box office success. But the music we heard tonight was worthy of a wider audience in its own right.
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Is this another renaissance in British music? asked Michael Salmon in the first meeting of the Society’s new season. British music seems to have gone through several waves with composers like Purcell and Arne in 17th Century followed by something of a lull until the first half of the last century with composers such as Elgar, Walton, Delius and Vaughan Williams.
Today there is a strong field of composers and Michael played examples by Michael Nyman, John Foulds, Patrick Hawes and Paul Carr. The evening started with a brief extract of one of Eric Satie’s Gymnopedie — no, Satie was not an undiscovered Englishman, but the piece illustrates the minimalist and impressionistic style adopted by some British born composers today.
If there is a British style, then based on the pieces we heard, it is characterised by a frequent evocation of the countryside and powerful harmonic development. It is also accessible. It is probably too soon to say if the music we heard represents a ‘new wave’ but the breadth and depth of talent was impressive.
Michael Nyman – the Piano
John Foulds – April – England
Patrick Hawes – The Highgrove Suite; Fair Albion; Song of Songs
Paul Carr – Concerto for Oboe and Strings; Requiem for an Angel
The first evening of the new programme started on Monday with Michael Salmon asking ‘is this another English
renaissance?’ After the deaths of Elgar, Vaughan-Williams, Delius and Britten, new British music has often appeared to lack direction and to a certain extent quality. However, since 1950, there has been a significant change and Michael will be looking at a group of modern British composers whose music, although always intensely lyrical, appears, in many cases to follow the 19th century French School with its harmony, impressionism and minimalism.
Note this was a change to the published programme.
The Society launched its new season’s programme this week and hard copies are available in the Tourist Information Office; the Collector’s Room; Oxfam upstairs; and the Library all in Salisbury. Joint chair of the society, Ed Tinline said ‘we have an exciting mix of presentations this year which includes film music, English music, Mozart, Shostakovich and Telemann – something for all tastes.’
This is the site for the Salisbury Recorded Music Society. Welcome. You’ll find more about us in the ‘About’ tab at the top of the site. To see where we meet, look in the ‘Find us’ tab. We’ll be publishing more material here as time goes on but we have just held our last meeting of the season so it will be quiet for a while.
The Society’s current season ended in fine style with a double bill: one part on Puccini’s Tosca and the other on the English composer, Gerald Finzi. Tosca is of course a very well known opera but what is less well appreciated is how broadly similar most productions are. Vic Riches explained that this was because Puccini left detailed instructions on how it should be performed and most productions followed them. It received its premier in January 1900 at a time of unrest in Italy and the violent nature of the plot – with torture and a firing squad graphically depicted – meant a troubled start. However, it is now a much loved part of the operatic repertoire.
The English composer, Gerald Finzi, is by contrast less well known and yet deserves to be heard more. He is perhaps best known for his songs and we heard ‘In years defaced’ and ‘Let us garlands bring’ the latter performed by Bryn Terfel. The second movement from his Cello Concerto opus 40, performed by Raphael Wallfisch under the baton of Vernon Handley, was played together with Romance for String Orchestra opus 11. Both are fine works and worth listening to if there is an opportunity.
Ed Tinline, joint chair of the Society, said it had been a successful year ‘fulfilling the Society’s purpose of bringing generally lesser known pieces and composers to a wider public’. Members heard music by Bartok, a variety of Scandinavian composers and the French composer Dutilleux as well as more well known names such as Wagner, Ravel and Schumann. Numbers attending had increased slightly on previous years following the change to Monday evenings which is encouraging he added.