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d » - ~ s » J : ‘ AN D T v U S I C J . z Q , M : 3 " ) " r 5 u v 9 g mV a l q i ublica t ion of the National Film Music Council W RK EAST S TH STRE ET NE O 28 N. 7 , Y , Y FI LLMORE 8 - 5 5 02 FA LL 19 5 6 “ e VOLUME LUST FOR LIFE (w ith scor e ex ce rp ts ) THE B A CKGROUND MUSI C OF WAR AND PEACE RI CHARD I I I THE B A LLET OF ROMEO AND J ULI ET WI LLI AM WA LTON THE LI GHTER FI LMS THE ROMANCE OF TR A NSPORTATION IN CA NADA ( w ith scor e ex cer p t s ) 16m m FILMS Ma r i e H a m ilton THE MUSI C TRACK FOR ODE ON A GRECIAN URN H a r r y Robi n CREDITS IN CURRENT RELEASES THE STATE OF MUSI C IN TELEV I SION H a r r y Robi n FI LM AND TV MUSI C NEWS M MUS C CONTENTS : O UME XV 1 5 5 - 1 6 FIL I V L , 9 9 5 : K D a s a s n en Va h in LUST F R Cov e r irk ougl V i c t n Gog O LI FE . il h i i i i Op i n ion s e xpr essed in s ign ed a r ticl es a r e n ot n e cess a r y t ose of t h e Na t on a l F l m Mu s c Cou n c l . Pu b sh ed b t h e N on F m Mu s c ou n » Y . P en m m n C c 1 1 E s 8 7t h New o 28 N . es d W H o ce li y ati al il i il , a t Y rk , r i t , illia a ilt ; Vi P s d e n a n d Ed ' o M e L. H m on S W F h h n n h c e G ce . M bee . e ss u s e c e oc c s o bu e s ee re i t it r , ari a ilt ; e r tary , ra a iv i e a y ar wit a i al ll ti , t r d l n d en B o s a c s. c ssues 2 0 co e e l ar fifty t a k i ( p i s ) s ven doll a r s pl u s po stag e. LUST FOR LIFE Mikl os Rozsa - im r ess ioni St ic S Hollywood has n Ot exacdy achi ev ed world fame for in fluence of Pissarro and the neo p eurat ) film e c r s c l th e i D s , the h istorical accuracy of its biographi s , as the carefree or esponds mu i a ly with mpressionism of ebu sy manner in which it often juggles hi storical fact s with sheer although Van Gogh hi mself could n or have kn own his music . u A i T - five a - fantasy to suit its own dramatic p rposes is its ch lles heel, here is a twenty ye r time lag between pictorial and Th e firsr n c ST FOR i . where it can be and usual ly is att acked . LU musical impression sm important impressio isti ’ LFE n i or cheStr al work ( inspired by the symbolis tic poet Mall arme ) I , however , is a notable exceptio It is most grat fying ' " ' ' ” h n or D s LA r es - d u n F ha d fir sr to see Hollywood come up with a film biography , w ich is ebu sy s p midi aune , which its ' ' only captures the dramatic highl ights of a great pain ter s performance in 1894 four years after Van Gogh s dea th . t h abso H t h e m l c s e , e t ragic li fe but also with painstaking research remains owever, e otiona ism of the musi al fin de i cle har acr er iz a an d or ch es rr al D lutely factual an d correct on hist orical data and c daring harmonic palette of ebussy corres Th s r i s i t Van tion of the dramatis personae . i was based on I v ng pond to my m nd, at least with the early s yle of ' o G t Stone s now wor ld fam ous novel of the same name , written ogh , and gives a point of departure for fur her develop l a N C hi s S , . for the screen by the bri li nt orman orwin , produced by ment as own style tarted to develop too H ns a man of impeccable taste , John o em and directed T n m l u The r e here is an i teresting si i arity , which sho ld be by an artist of his own merit Vincente Mm elli . w t i mentioned here, bet een the short , troubled , ecs atic l ves sul t of the collaboration is a moving dr a a of the tormented m h G H W and creative met ods of Van ogh and ugo olf , who life of Vincent Van Gogh . B l - . ' were contemporaries orh were more or less se f taught fir sr From the composer s point of view , the problem u f in artists , fighting nsuccess ully for recognition, existing l a was as it a ways is with historic l subjects to find a un n osr S n - i l poverty , highly tru g, hyper sensitive , rritable , que St . , suitable yle In concert music one always expresses onese f r ulous ~ a i t , eccentric, over emotion l ; lead ng lives of ex reme r l fil m its but in d amatic music, and especial y music, where ca e n exaltation , when masterpieces me into b i g in the short an d most important function is to serve help the drama, es r period of time ( as produced in a trance ) or of utmost S . each subject , each period , needs its own tyle In a present c h c deje tion, w en long periods went by without produ ing can o day film drama the composer safely use his own c ntem B losr ea in n n an ything . orh their r son, were confined i sa e orar i l l appr op p y idiom, as th s wil undoubted y be the most s both m su asylum , and tried to com it icide , in which only t u ( if l 7 5 ria e , but for a period pict re even its setting is on y The a s h V u c . an Gogh s c eeded par llel tops ere. however , as be years a o ) a suitable style has to found , which forms a g Van Gogh was a more progressive artist who br oke entirely h t he l homogeneous unity wit pictoria happenings of the h W l new ground , w ereas o f , under the spell of his hero B a h d o . ph toplay erlioz writes somewhere that with e c rama W n or worship of agner , did develop a new harmonic or t h ad S ' tic subject he at acked , he to change the tyle of his The G melodic language . key word of Van ogh s entire T al musical expression . hat in spite of this, his own person i or o a creation is subject ive emotional sm emoti n l subjectivity , o St idiom always came t hr ugh goes without saying, as a rong and in the pictur e this had to be u nderlin ed and comple r and in dividual personality will always shine th ough , no meri ted m usically . matter how it is disguis ed . w i The music that Vincent Van Gogh knew and liked was Nothing as further from my m nd than to imitate ’ - L - B r D t t h i the high romanticism of the Wagner iszt e lioz school ebussy s s yle for is picture, but the t mbre of this score is H a F h t u . The and its numerous satellites in France and German y . is e rly that of rance at the beginning of t is cen ry main an d S h ( m usica l themes of the pict ure are the foll owing : impressionistic pointillistic tyle , owever , under the ' The t heme of yearni ng an d seeking which cha r acterizes musically Vincent s eterna l can fir St . search for the infinite and unr eachable . It be heard under the credit titles ( Ex. t w 1 9 56 Cop yrig h Loe s Inc. ht l e w 19 Copyrig o s In c. 56 The theme of achievement , developed from the second half of the first theme, tries to convey the beauty and contentment of creation . ( Ex. 1956 Cop yrig ht l oe ws l n c. w Cop yrig h t l oe s Inc . ’ h t c The theme of brotherly love, w ich re urns with every narration by Vin ent s ' l h s ll .