Several of the more prominent and successful film composers have been
reproached for their relatively carefree attitude to musical borrowing. For
some reason, critics have tended not to see this attitude as mere nostalgia
for the pre-copyright Baroque Era. Their grumbling has tended to centre
especially on messrs. Horner, Zimmer, and Williams, particularly the latter.
Despite the formidable, richly deserved attacks on the Enlightenment
that have distinguished scholarship of late, there may yet be a colleague
or two attached to the outdated, politically naive Kantian slogan "sapere
aude." I invite this handful to have a listen to Williams' main theme music
for Schindler's List, and then to the transition music between the first
two themes of Mahler's Eighth Symphony, first movement.
MWM
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