Then there's Bill Conti's main theme to *Mass Appeal* compared to
Haydn's *Kaiservariationen*, from the op. 76/3 string quartet. I
remember his description of it, in an interview, as "a Baroque theme
for a Baroque subject." Sic, remembering Mark Twain's admirable "Let
us draw the curtain of charity on the rest of the scene."
At 9:30 AM -0700 4/18/02, Michael Morse wrote:
> 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yet be a colleague or two attached to the outdated, politically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
-- * * * * * * * * * * * * * * * * * * Jonathan Bellman (970) 351-2151 Chair, Dept. of Music History and Literature FAX: (970) 351-1923 School of Music, College of PVA jbellman@arts.unco.edu University of Northern Colorado 501 20th Street, Campus Box 28 Greeley, CO 80639"Ah, Music . . . a magic beyond all we do here!"
-- Albus Dumbledore, Headmaster Hogwarts School of Witchcraft and Wizardry
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