Each chapter compares the composer’s music for films with his or her music for the concert hall, and speculates as to how music in one arena might have affected music in the other. Progressing in chronological order, the chapters offer accounts of the various composers’ concert-hall careers and descriptions of their concert-hall styles. Featured composers include Erich Wolfgang Korngold, Franz Waxman, Miklós Rózsa, Bernard Herrmann, Nino Rota, Leonard Rosenman, and Ennio Morricone.
#METTI LO DIAVOLO TUO NE LO MIO INFERNO TORRENT SERIAL#
Hyde: Franz Waxman’s musical activities beyond filmĤ The double life of Miklós Rózsa’s Violin Concerto and The Private Life of Sherlock Holmesĥ Bernard Herrmann’s concert music, 1935 to 1975: an overviewĦ Nino Rota: neo-classicist, classical modernist, or pragmatic pluralist?ħ Jerome Moross: the concert hall and stage worksĨ Don Banks: Hammer horror and serial compositionĩ Modern composer off the screen: Leonard Rosenman’s concert musicġ0 The maestro of multiple voices: the ‘absolute music’ of Ennio Morriconeġ1 ‘I did it for fun’: André Previn, crossover musicianġ2 Wojciech Kilar: ‘I am like a Doctor Jekyll and Mister Hyde’ġ3 Alberto Iglesias: the Spanish composer behind Pedro Almodóvar’s filmsĭouble Lives: Film Composers in the Concert Hall is a collection of fifteen essays dealing with ‘iconic’ film composers who, perhaps to the surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall.
1 Erich Wolfgang Korngold: the last prodigyĢ The concert works of Georges Auric, 1945 to 1983ģ Looking for Mr.
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