Emotion on tap: the appeal of film music.

Whilst listening to the University Concert Band performing a suite from the score to the film Gladiator at a recent concert, I was struck anew by the allure that film music has for me. On browsing through my array of CDs later on, I realised that a large part of my listening library is devoted to film scores, from the spooky Classicism of Hannibal to the robust menace of Gladiator and Jurassic Park, the ethereal mystery of Solaris or the innocent jollity of Amelie.

What is it about film music that appeals ? On reflection, I suspect it might be the immediacy of the emotion it conjures, the instant creation of a mood or effect. Unlike traditional classical music, film scores don’t rely on musical form and architecture in the same way as, say, a symphony or a piano sonata. Film music, at least non-diagetic film music, is used because a director wants to enhance the emotion of a particular scene, and the music has to respond immediately. There is no room for traditional forms such as sonata form – exposition, development, recapitulation – which is all about presenting ideas, developing them, setting up tonal or harmonic relationships, and then providing a resolution in a coda. Think of the menace of the creeping semi-tone in Jaws, or the shrieking strings in Bernard Hermann’s music to Psycho: the effect is immediate.

Of course, diagetic music can do this as well: I’m thinking of that scene in Riidley Scott’s beautiful Hannibal, where the sound of the theme from Bach’s glorious Goldberg Variations seeps into the soundtrack, and the camera tracks across the room to reveal Lecter himself playing the piece as he muses on the letter he has just written to Starling. The piece is a favourite of Lecter’s, as we know from The Silence of the Lambs when he plays it on a tape-recorder in the prison-cage. The beauty of Bach’s melody stands in stark contrast to the environment in which it appears: Lecter’s private residence, or the cage-prison, and the figure of Lecter himself. (This video of Gould performing the Aria uncannily mirrors something of the tracking effect Scott uses in the film: I wonder if he’d seen it ?).

So what film music looms large in your library, and why ?

(Audio excerpts from preview tracks at LastFM).

Be My Guest: Danielle Broadbent reviews the Brodsky Quartet

Be My Guest: an occasional series of guest posts and contributions. This week, a review of the recent Brodsky Quartet concert at the Gulbenkian Theatre by Danielle Broadbent. Danielle is a second-year Architecture student, and Music Scholarship Student. She plays the cello in the University Symphony Orchestra, and has also set up some additional string groups.

—-

Brodsky QuartetThere was a good turn-out at the Brodsky Quartet concert at the Gulbenkian on Wednesday 19th May.

Many people come regularly to see the group play, so the audience knew to expect a good evening. There was a really friendly atmosphere with even a group of young people from St. Edmund’s School among the audience. It’s so easy to get to that I was surprised: for just £7 for a Student Stand-By ticket, you would have to pay a lot more to get such a professional performance any where else!

The quartet plays standing up which is unusual but works really well. It allows for lots of movement, which means that the group sometimes looks like they are dancing as they play. The four players dip and dive, showing the spark between them as they work together in a really strong team.  The first violinist is very expressive. His showy, tapping, style took him up to two metres away from the stand at times! Complimenting this is the unfussy, solid performance of the second violinist. The viola player is the spokesman of the group, introducing pieces with interesting facts and a few jokes. Beautifully interwoven with his approach is the elegant playing of the cellist. There is a definite sparkle within the group, as they use eye-contact and general movement to bring the music alive. Their playing is so well integrated that it sometimes feels like they are holding a musical conversation.

The first piece was Mozart’s Adagio and Fugue in C Minor (K546). We were told how Mozart took the examples of Bach and Handel and said ‘I can do better!’ The playing was crystal-clear with incredibly expressive playing from inside players. They made the most of the silences in the piece and looked like they had great fun playing the last movement.

The second piece was the Schumann Quartet in A Major, op. 41 no 3. 2010 is Schumann’s 200th birthday celebration year and last time the Brodskys came to the Gulbenkian earlier this year they also played his music. There was rapturous applause, and even cheers at the end of the piece!

After the interval, the concert continued with Tchaikovsky’s first quartet in D major.  This came complete with regulation coughs and shuffles between movements! The first movement was stirring, the second beautiful and the third fascinating, but the masterful, boisterous and playful rendition of the final movement was definitely my favourite part. The clever programming and showmanship of the performers worked the audience up so that the applause left no-one in any doubt that an encore was necessary!

This turned out to be the group’s own arrangement of a piano piece from Schumann’s Album for the Young. The tired but jubilant quartet settled the audience down with this lovely, quiet piece rounding up the concert in style.

Written by Danielle Broadbent.

The Brodsky Quartet in 2008, playing the Brahms Clarinet Quintet:

Another Adams: composer John Luther Adams.

It’s always exciting to discover a new composer whose musical language instantly appeals to you.

I can still recall the exact moment when I first heard a piece by Steve Reich: Vermount Counterpoint. I was immediately hooked.  A pal at school had made a compilation tape of pieces for me, including Eight Lines, Music for Mallet Instruments, Voices and Organ, Six Pianos, and a piece by another Minimalist, John Adams, Grand Pianola Music. Now my listening library is dominated by these two composers.

John Luther AdamsI’ve recently discovered another Adams: John Luther Adams, whose hypnotic music occupies a similar niche. The beautiful soundscape of In a Treeless Place, Only Snow  is a delicate gem.

Listen to it for yourself: In a Treeless Place, Only Snow.

And if you like that, try this: The Farthest Place.

Both performances by the American Contemporary Music Ensemble, with other pieces streamed from WXQR, the classical radio station in New York’s website here as well.

(And continuing the leap into the Digital Age: you’re now using a media player on this blog as well. Blogs, virtual magazines, video-clips, floating media player: the modernisation continues!)

So, what music struck you like a thunderbolt early on and has stayed with you ever since ?

Was It Good For You: Miles Banbery.

Continuing the series profiling musical alumni of the University of Kent. This week, Miles Banbery.

—————-

Miles Banbery
Web-master: Miles Banbery

When were you at Kent ?

1990-1995 as a student – ever since as a member of staff!

What subject did you study ?

BA (Hons) in History and MA in Medieval and Tudor Studies.

What occupation are you now engaged in ?

I’m the Web Editor for the University of Kent.

If music is not your profession, do you participate in any musical experiences now ?

I belong to two local chamber choirs (one of whom I occasionally conduct and more regularly act as rehearsal pianist for) and get involved as a ‘dep’ or ‘bumper’ with a variety of local chamber choirs, church choirs and choral societies. In addition, I sing in and organise a quartet who sing a monthly unaccompanied mass at a local church. Sometimes we grow to 8 or 12 members for special occasions but always stick to the 16th century English and continental European unaccompanied repertoire.

How were you involved in music whilst at Kent

I sang in the University Chamber Choir and University Chorus as well as taking my turn conducting the Chamber Choir and the Big Band. In addition, I served as a committee member for both the Chamber Music Society and the Jazz and Blues Society. I also performed in the chorus for Tosca in the Gulbenkian and for The Pyjama Game in the Marlowe. Later on I also had the opportunity to be musical director to student productions of Cabaret and My Fair Lady as well as vocal coach for Joseph.

What did you gain from your University music experience, and has this helped you in any way since leaving Kent ?

I gained hugely from the opportunities given to students to perform as soloists, gain experience of musicals and operas and also get to conduct/direct if they wanted. That kind of experience is invaluable and, whilst its tempting to keep standards high by using local semi-pros and pros, student experience and development is so important. The solo and conducting experience I got at Kent hugely improved not just my skills in those areas, but my confidence presenting in front of large groups of people and choir work is great for learning key team skills.

I also learnt how much comes to those who are willing to organise it themselves! Its no good waiting for others to bring opportunities to you!

What was your most memorable musical experience at Kent ?

Difficult to pick just one! Chamber Choir tours to Prague including the one I conducted must be top, but I remember a wonderful Messiah in St. Peter’s Methodist Church and a wonderful Monteverdi Vespers in Wye Parish Church. I have to say how much I enjoyed the annual ‘Messiah from Scratch’. A great introduction to Kent for singers and players alike.

What would you say to current musical students at the University ?

Take every opportunity to perform you can get without failing your degree! Also, don’t neglect your practice and technique like I did! 🙂

—-

If you’re a musical alumnus and would like to be featured, get in touch via the Music Department website: we’d love to hear from you!

Be My Guest: Alanya Holder reviews Ronnie Scott’s Big Band

Be My Guest: an occasional series featuring guest posts and contributions. This week, Music Society President Alanya Holder reviews the Ronnie Scott Big Band as part of the Sounds New Festival, Canterbury.

—-

Ronnie Scott: “If it doesn’t turn you on…”

On Sunday 16th May, as part of the Sounds New festival, Ronnie Scott’s Big Band came to the Gulbenkian Theatre. But as an extra special treat, selected musicians from Canterbury Christ Church University were invited to an afternoon workshop with the director of the band, Pete Long. I was lucky enough to sit in and watch the experience! Pete Long is a fantastically extrovert character who clearly has a passion for all things jazz and big band. He was also a brilliant director, getting the absolute best out of everyone within minutes. The noise that engulfed the Gulbenkian Cafe was astounding. We also got a little insight into how rehearsals with the Ronnie Scott band must be as everyone was so relaxed and having a great time just enjoying the music. I also feel greatly enlightened by Pete Long’s words of wisdom during the day. A lesson every musician must learn is this; “Playing a note is like streaking, once you’ve started you’ve got to commit to it!” Also I think it is important we remember the day in a certain context; “Big band music – sometimes it’s used to accompany strippers.”

Album cover
Atomic Basie (1957)

So as the afternoon drew to a close everyone was eagerly awaiting the evening performance of the two iconic jazz albums: Atomic Mr. Basie and Ellington at Newport. The evening was not only fantastic music but I felt I left knowing a lot more about the two albums and the artists as Pete Long gave each song an introduction and history (not to mention a joke or two). It was great to hear the songs performed by the band that the students had played about with earlier in the day, as you could appreciate just how good both the students and Pete Long were at bringing the music to life. Almost every member of the Ronnie Scott band had a solo opportunity during the evening, the crowd favourite being the drummer who not only stunned us with drumming but juggling as well! A quirck which put a smile on my face was watching the pianist’s feet tapping away at an incredible speed along with all the songs, I was worried he might fall off his chair.

Ellington album
Ellington at Newport (1956)

The evening went from strength to strength and towards the end of the night every song and every solo received a cheer and a standing ovation. The passion for the music in the room was evident, even if jazz wasn’t your thing! But as Pete Long said; “If it doesn’t turn you on…then you haven’t got a switch.”

Written by Alanya Holder.

Opera: season with fear

I read the news that the BBC is launching a new series across its major networks devoted to opera with some trepidation. Not because opera is not perhaps my favourite art-form, hem hem. I welcome any cultural exploration on the television – I’m currently watching Francesco’s Venice with great enthusiasm, as well as Owen Sheers’ Art of the Sea – and classical music, for my money, is often poorly over-looked by television outside of the BBC  Prom season.

But as I read the article in Gramophone, my heart sank.  As part of the season exploring opera, Rick Stein will be offering a “look at the parallels between food and cooking, with a gastronomic look at Italian opera,” I learn. And the titanic, sprawling controversy that is the music of Richard Wagner will be investigated by – Stephen Fry.

Now don’t get me wrong: I love Stephen Fry. But if I want an analysis of Wagner’s music, an examination of his mammoth operas and an insight into the innovations he wrought in harmony and tonality, I might not look to Stephen Fry straight away. Nor do I expect profound insights into the Italian opera tradition to be revealed by focusing on cooking with Rick Stein.

I like the idea that classical music, even opera, is the subject of a season of programmes: hell, I might even learn to like opera myself. But if ‘twere done, then ‘twere best done properly, by specialists who really know their stuff. The promised programmes by Antonio Pappano, investigating the role of opera in the musical life of the country, sounds excellent. But the nation-wide search by Radio 3 for the nation’s favourite operatic aria fills me with dread: presenter Rob Cowan talking of ”an exciting battle for the top spot” when the top ten are announced in June.

I’ll be watching, and listening, with interest. But a little trepidation too. Will you ?