Film‐as‐Concert Music and the Formal Implications of ‘Cinematic Listening’

Abstract

What does it mean for film music – subordinated, contingent, ‘unheard’ – to be plucked from its intended context and placed at the forefront of the listener's attention? The tradition of excerpting and arranging movie scores for the concert hall poses this question sharply. While scholarship on ‘cinematic listening’ has picked up in recent years, the specifically music‐theoretical issues raised by this repertoire have been largely unaddressed. In this article, I argue that film‐as‐concert music presents hearing ‘cinematically’ as a valid alternative to structural modes of listening, a form of hearing that subverts both naive formalism and reflexive anti‐formalism. Following a discussion of theoretical and interpretative priorities for analysing film‐as‐concert music, I begin investigation of a subset of the film‐as‐concert corpus: stand‐alone scherzi originating from action set pieces. More than any other type of underscore, action cues answer to dramatic, editorial and visual imperatives rather than to ‘absolute’ logic. My core data emerges from a detailed study of John Williams's film and concert scherzi, with short analyses of cues/pieces from E.T., the Indiana Jones movies and Star Wars. My approach emphasises the way in which formal alterations bring about drastically different ways of hearing the work tonally and expressively across multiple versions. A larger‐scale case study of ‘The Asteroid Field’ from The Empire Strikes Back serves to demonstrate the tonal, sectional and narratival transformations that occur between movie theatre and concert hall. To conclude, I propose that the film‐as‐concert mindset can be transferred to filmgoing itself, as a new mode of cinematic listening.

Scaramouche, Scaramouche: Sibelius on Stage

“…Frank Lehman observes of film music rescored for the concert hall that it encourages a focus 'on often neglected parameters: gesture, atmosphere, instrumentation, mood, narrative, texture, climaxthe musical surface'. 73 This is directly applicable to Scaramouche. This special emphasis on the sounding surface of the score is perhaps why contemporaneous reviewers felt that Sibelius's music was so effective.…”

Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis ofBegleitungsmusik zu einer Lichtspielscene(1929–1930)

“…Return to text 27. Film scores turned into orchestral works, and the ways in which one listens to them are the topics of an illuminating account by Frank Lehman (2018). One can conceive of the reverse process in Begleitungsmusik, in which extracted episodes would be combined as non-diegetic cues in a full-length feature.…”

Film Music in Concert

“…In this study I argue that a pivotal and highly influential agent of change for the legitimisation of 'film music as concert music' (Lehman 2018), as well as for the development of today's multimedia films, was John Williams's tenure as the conductor of the Boston Pops Orchestra. Archival research into the history of Williams's Pops years reveals the seminal impact that his appointment to the position and his policies and experimentations throughout his tenure had on the wider acceptance of film music as concert-programme material.…”