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