Don Satz wrote:

>>The minimalism of film scores has been an excellent trend.  It can add
>>much to a good movie such as with American Beauty.  Still, take away the
>>movie, and the music quickly loses all appeal; that's the basic problem
>>with movie music.  Most of it can't stand on its own, and that's
>>essentially why it irks me when the two are spoken of at the same time.

Steve Schwartz replied:

>Ah, but on the other hand, there are quite a few that, with some judicious
>editing, do stand on their own: scores by Honegger, Milhaud, Korngold (the
>Cello Concerto was a movie sequence), Herrmann, Rozsa, Waxman, Thomson,
>Walton, Prokofiev, Hindemith, Vaughan Williams, Bernstein (Lennie and
>Elmer), Shostakovich, Dello Joio, Morton Gould, Jerome Moross, and Copland.

And so many more:  the Russians Moise Vainberg, Boris Tchaikovsky and Karen
Khachaturian; the Brits Arthur Bliss, Benjamin Britten and Arnold Bax; the
French Georges Auric and Jacques Ibert -- who's to say that had sound film
been around that many of the great composers of earlier periods would not
have plied their trade.  IMO it's a specious argument to deny movie music
any legitimacy, and smacks of the worst kind of intellectual snobbery.

John Dalmas
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