Denis Fodor wrote:

>...  Why, then, don't some of these concert halls that find themselves
>catering to ever more annuated audiences have their orchestras and music
>directors play programs of movie music-- music, I would add, backdropped
>by a large screen showing the parts of whatever movie the music relates
>to?  I can >even imagine a whole festival devoted to this (or has it
>already been done?)

Well there certainly have been plenty of concerts devoted to film music.
While the magazine, Film Score Monthly has just stopped their print
version, an online version is now available...in each issue they provide
a list of such concerts being offered.

For me, it seems like a lost opportunity.  The concerts are usually all
film music.  It seems to me that a concert of say, music of John Williams,
perhaps including a suite from the music for Jaws, could include the
Prokofieff Scythian suite...which sounds to me like the inspiration for
that familiar ostinato of the Williams score.  I also can imagine a
concert featuring Williams' music for Star Wars, and some of Korngold's
music for Kings Row (the model Williams' music for Star Wars) and perhaps
a concert work by both Williams and Korngold.  A concert of Goldsmith's
suite from the music for Wind and Lion and the Urban Dances by Danielpour...
in a few places there are some striking similarities.

My point is not to illustrate how there is some "borrowing" going on,
but to point out that concert music and film music share some commonalities.

Ok, how about a concert of the film music of Bernard Herrmann and his
Symphony.  Likewise a concert of the film music of Rozsa and his Theme
Variations and Finale (a work I love) and some of the music of Kodaly.

How about a pops "concert for lovers." It could include some of the great
film themes like Laura, as well as the Rachmaninoff Paganini Variations,
18th Variation having been used in many films, including Somewhere in
time," the Rozsa Hungarian Nocturne, Barber's Fadograph, etc.

And speaking of "theme programs"...Morricone wrote a passage for the
score for Moses, background for the locust, which sounds just like the
Xenakis Pithoprakta.  Some of the music for Close Encounters reminds me
of the Penderecki oratorio, the Dies Irae.

I guess, I would think these ideas might might show those who appreciate
film music, how "the good parts" can be part of a larger process, a
process which can make "the good parts" seem even better.

Karl