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Morecambe & Wise
“How wonderful it is that nobody need wait a single moment before starting to improve the world.”
The contemporary one.Originally Posted by ComposerOfAvantGarde
I should mention George Frideric Handel and his wealthy supporter Charles Jennens. Jennens, though arrogant and irascible, was a man of taste, supplied Handel with the libretti to the English oratorios: Saul, L'Allegro il Penseroso ed il Moderato, The Messiah, Belshazzar, and probably Israel in Egypt. All masterpieces.
Last edited by HarpsichordConcerto; Oct-05-2012 at 23:33.
All composers are equal but some are more equal than others.
Joan Sutherland and Richard Bonynge although it is hard to say who benefitted most.
Not exactly classical I know, but how about Ellington and Strayhorn?
Last edited by elgars ghost; Oct-06-2012 at 20:02.
Some fruitful composer-film director partnerships:
Nino Rota and Fellini
Bernard Herrmann and Hitchcock
John Williams and Spielberg (& also George Lucas)
Honest differences are often a healthy sign of progress - Mohandas K. Gandhi.
That were partnerships between movie directors and film music, not classical music.
All those three composers where classically trained, and also wrote 'purely' classical music (eg. for the concert hall). Their film scores have also entered the concert hall via suites fashioned from them (eg. Herrmann's 'Psycho' suite has been played by the Australian Chamber Orchestra, and in that HD series, no less than the Berlin Philharmonic played Rota's 'La Strada' suite). All of those directors hired these composers again and again, actually Spielberg did say that his work with John Williams was a partnership. I read it in the notes of a cd I've got.
I don't think film music is much different from incidental music to a play (from before when movies where invented). & maybe also other stage mediums like ballet and opera. This thread is not about disputing this or other things. In one of my earlier posts, I mentioned that I did not think that musicians focussing on dead composers was a partnership. But I said people can post about that here if they want.
This thread has gone pretty well overall. Its been positive. I would like you to note rapide, that it is due to negativity such as yours in the past, as well as others like some guy and stlukes, that I have 'retreated' mainly to my own threads and 'safe' places like the 'current listening' thread. If you want to dispute things in depth go make your own thread, you and those others. Guess who won't be visiting it.
Goodbye and good luck.
Last edited by Sid James; Oct-08-2012 at 03:23.
Honest differences are often a healthy sign of progress - Mohandas K. Gandhi.
The definition of classical music is quite shaky at best, and I honestly don't believe you have much authority to deny a whole form of music from being classified as such. Most film composers are classically trained, the scores are written out and usually read by classically trained musicians. How is that different from any other classical music written in modern times? How is it much different from ballet or opera composing, or composing incidental music for a play? Silly.
You missed my point above. I am well aware many film composers are classically trained. (I have worked with some of them and they are fine composers). The point is we were not (up to now) discussing between film directors and composing film music. All examples up to now have been between composers, libretti, and other composers and supporters who together produced classical music. The relation above is between the film composer to help produce films/movies. That deserves a new thread.
Yeah, cause the title of this thread is "Great Partnerships between Classical Composers and Librettists or Benefactors and NOTHING ELSE Lest you Incur the Wrath of Rapide"
Don't worry, it aint worth it. I just read about Spielberg and John Williams. All of Spielberg's films, except one, have been scored by Williams. Now if that ain't a partnership, what is? There are plenty of film composers in Hollywood, so why did Spielberg chose this one for all those films across the decades? Its similar to how some opera composers worked with the same librettists on many projects. Or composers of musicals with the same lyricist (both these types of partnerships have been mentioned on this thread).
Its just control, BurningDesire, that's all it is. Every thread I make, Rapide comes and does this. I think its basically cos I hate Wagner, its sour grapes over that. Same with the other two members I mentioned, they've done this time and time again on the threads I make. & I just contributed to a thread and lo and behold, guess who is on there questioning the premise of the thread. Its about contemporary music (no prizes for guessing which member!). I'm sick of these gambits, its rather tiring. So sad how obviously intelligent and informed people get their kicks out of this.
Honest differences are often a healthy sign of progress - Mohandas K. Gandhi.
Ach! You have outed us! The great Evil Wagnerian Brotherhood. Under the rule of the dark green overlord, couchie, we strive to control all the musical internet forums in the known world.We are far more dangerous... and insidious... than the Knights Templar and the Illuminati... or was that the Glitterati?
Inspiration exists, but it has to find you working.
Art is never chaste. It ought to be forbidden to ignorant innocents, never allowed into contact with
those not sufficiently prepared. Yes, art is dangerous. Where it is chaste, it is not art.
Pablo Picasso
Welcome back, old boy! My oh my - the ban has been lifted. Your return "brings balance to the Force", the young Padawans/young-lings need guidance. Or is it the Dark Side of the Force is now back in balance?Ach! You have outed us! The great Evil Wagnerian Brotherhood. Under the rule of the dark green overlord, couchie, we strive to control all the musical internet forums in the known world.
All composers are equal but some are more equal than others.
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