On the program today you are going to hear a three hour plus program dedicated to music written for anything but film, TV and video games by film, TV and video game composers.
It is not uncommon place for film composers to cross over and dabble in the concert hall. Many of the greatest Golden Age film composers actually got their start in the concert world – Erich Wolfgang Korngold, for instance, wrote many operas and symphonies years before scoring such films as THE ADVENTURES OF ROBIN HOOD and THE SEA HAWK.
Others like John Williams, James Horner, Miklos Rozsa, Danny Elfman, Cliff Eidelman, Bernard Herrmann – just to name a few – have also written spectacular and challenging music to be enjoyed away from the silver screen.
This is actually CINEMATIC SOUND RADIO’s third CONCERT MUSIC BY FILM COMPOSERS program. This is our first since 2006. On the show today you will be hearing classical works by such composers as Andrew Pearce, Christopher Gordon, Lee Hodridge, Robert Folk, Elliot Goldenthal, Jerry Goldsmith, James Seymour Brett and more.
During the last hour of the broadcast, Tim Burden will join the program to honour composer Michael Kamen, who sadly passed away ten years ago on November 18, 2003. The last hour will feature only music composed by Michael Kamen for the concert hall including his SAXOPHONE CONCERTO for David Sanborn, the Eric Clapton commissioned GUITAR CONCERTO and the Leonard Slatkin commissioned millennium celebration piece THE NEW MOON IN THE OLD MOON’S ARMS.
NOW PLAYING: CONCERT MUSIC BY FILM COMPOSERS | PART I
NOW PLAYING: CONCERT MUSIC BY FILM COMPOSERS | PART II
NOW PLAYING: CONCERT MUSIC BY FILM COMPOSERS | PART III
PLAYLIST PART I • THE MAESTRO (Pearce) • RUGBY WORLD CUP (Gordon) • VIOLIN CONCERTO NO. 2 (Holdridge) • TO DREAM OF ROSES (Folk) • FIRE WATER PAPER: A VIETNAM ORATORIO (Goldenthal)
PLAYLIST PART II • SYMPHONIC SOUL (Mancini) • MUSIC FOR ORCHESTRA (Goldsmith) • ELEGY FOR VIOLIN AND ORCHESTRA (Pearce) • EXODUS (Kilar) • THE SOUND OF GAYA (Brett)
PLAYLIST PART III • THE NEW MOON IN THE OLD MOON’S ARMS (Kamen) • CONCERTO FOR SAXOPHONE AND ORCHESTRA (Kamen) • CONCERTO FOR GUITAR AND ORCHESTRA (Kamen)
Excellent!
Thanks Ron!
fAnd I STILL hope to find Philip Cobb’s “Songs from the Heart,” which doesn’t seem to be available anywhere! Any suggestions?
Hi Ron – Here are a few links.
https://worldofbrass.7dgtl.com/releases/1974823
http://www.worldofbrass.com/acatalog/25261.html
http://www.amazon.co.uk/Songs-Heart-Philip-Cobb/dp/B009L57KYE
Good luck.
Thanks. I’ll try to check out those links over the weekend, because I’m determined to get Philip Cobb’s album!
Was it you who wrote about the album “The Barber of Neville” in which Neville Marriner conducts wind music by composer Howard Blake? I finally received the hybrid SACD of it today, but can’t remember what prompted me to order it. Probably something written at the Film Score Monthly website.
Erik Woods: I’ve been remiss in not telling you that I went to the World of Brass Tunes site and downloaded Philip Cobb’s entire “Songs from the Heart” CD as well as a few more from the albums “Soloist Showcase” and “Black Dyke Gold Volume 11” by others (in the case of Philip Cobb, I thought I was ordering the CD until it suddenly started downloading). I’m enjoying everything and will likely buy more music from them. What magic! Thank you!
Awesome news. I’m glad you were able to find the album! Happy listening!
THANKS for the show!!!!
Brilliant – as always
Greetings from Austria
My pleasure Markus! Glad you enjoyed it!
Dear Erik,
What a great show. I discovered it from the FSM message board. I think this is fodder for not only more episodes on the subject but a discussion of the appeal for film composers (who make more money than concert composers, and have more people hear their music through film) to dip their toes into the water.
There’s also the converse – “concert” composers or “art” composers who dip their toes into film composing (Tan Dun, Philip Glass, John Corigliano). There are also the in-between’s like Goldenthal who is equally at home in either field.
But the works you played on your program were very interesting but perhaps only the tip of the iceberg. I think, for example, a classical concert goer might only ever hear Goldsmith’s “Music for Orchestra” and walk away with that as being symbolic of his greater output.
I think there’s so much more artistic emphasis put on concert hall writing because it’s of a singular authorship. I would love to hear more of a discussion of this plus some more of these concert works by film composers.
I think back to Herrmann, probably screaming “There’s no such thing as a film composer. Only composers!”