Steve Schwartz wrote:

>At the urging of Harold Clurman, already in California at the time,
>Copland traveled to the studios to find work.  He walked away empty -
>whether or not his decision, I don't know.  A few years later, however,
>he decided to compose a "calling card," something he could show the
>studios, and chose to score a Pare Lorentz documentary (narration by
>Lewis Mumford) called The City, basically about city planning.  I've
>actually seen it and think the music by far the best part of the film. ...
>
>The score is unusual in that it does indeed illustrate the images, as
>in the "Sunday Traffic" sequence, with its convoy of flivvers chugging
>out of the city.  On the other hand, the music also stands apart.

I recall a "Young People's Concert" when Copland discussed film music.
He used that sequence, first with no music and then with the music.  I
still remember the impact that had on me and I present it the same way
in my class.

As Steve points out, Copland didn't work on "great" films, but I find
that his music made for some great moments in film...the fight sequence
in "Of Mice and Men," and the subway ride in "Something Wild," a film
which seems to me to much better than the reviews written at the time
it was released, would suggest.  Copland's "Music for a Great City,"
derived from that score, is to me, his best "jazz" writing.

Also noticed that the disc Steve reviewed is (was?) available at
Berkshire.

Karl