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001 ocm61441052;

003 OCoLC;

005 20141211193448.0;

008 050422s2006 enkag b 001 0 eng ;

020 a| 0954012364 (pbk.);

020 a| 9780954012366 (pbk.);

020 a| 0954012372 (hbk.);

020 a| 9780954012373 (hbk.);

035 a| (Sirsi) o61441052;

035 a| (OCoLC)61441052;

049 a| EREM;

050 4 a| ML2075b| .K44 2006;

082 04 a| 781.542092| 22;

100 1 a| Keller, Hans,d| 1919-1985.=| ^A39108;

245 10 a| Film music and beyond :b| writing on music and the screen, 1946-59 /c| Hans Keller ; edited by Christopher Wintle.;

260 a| London :b| Plumbago,c| 2006.;

300 a| xxviii, 255 pages :b| illustrations, music ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Hans Keller archive ;v| 3;

500 a| Published in association with The William Alwyn Foundation.;

504 a| Includes bibliographical references (pages 243-248) and index.;

505 00 t| The need for competent film music criticism.g| A pamphlet for those who care about film as art, with a final section for those who do not --g| Part 1.g| Film music topics.t| The psychology of film music (Arthur Benjamin, Master of Bankdam; Georges Auric, La belle at la bete) --g| The news and the muse --g| Featured music: 'Classical' quotations --g| The question of quotationt| (W.A. Mozart, Apartment for Peggy ; Felix Mendelssohn and Richard Wagner, Fools Rush In; W.A. Mozart, Lady Hamilton; J.S. Bach, La symphonie pastorale) --t| Reply to Pizzetti --t| Hollywood.t| Hollywood music: another view (various) --t| Hollywood orchestrators: the dragon shows his teeth (Aaron Copland, The Heiress) --t| From Auden to Hollywood (through route) (Frederick Hollander, Born to be Bad) --t| British film music.t| An appeal to constructive consciences --t| Film music: British --t| LCMC-ICA failure --t| Film music of the world --t| Continental, British and American (Oscar Straus, La Ronde; Joseph Kosma, Three Telegrams; Benjamin Frankel, Appointment with Venus, Man in the White Suit; Alan Rawsthorne, Where No Vultures Fly; Daniele Amfitheatrof, Rommel: Desert Fox; Letter from an Unknown Woman) --g| World reviewt| (Georges Auric, La belle et la bete; Bernard Herrmann, 5 Fingers; Alex North, Viva Zapata!; Bronislau Kaper, Invitation; Michael Jary, Madchen mit Beziehungen; Wolfgang Zeller, Der Schatten des Herrn Monitor; Alois Melichar, Maria Theresia; Gustavo Pitaluga, Los Olvidados; Dag Wiren, Mademoiselle Julie --t| Film-musical ingredients.t| Film-musical atmosphere (The Festival of Youth; Bob Busby, Holiday Camp; Rene Cloerec, Douce; Franz Waxman, The Two Mrs. Carrolls --t| Music in documentary film (The Edinburgh Festival) --g| The film dirget| (John Woolridge, Fame is the Spur; Bretton Byrd, The White Unicorn; Miklos Rosza, Jungle Book; Alan Rawsthorne, Uncle Silas; Yves Baudrier, Bataille du Rail) --g| The simple tunet| (Alessandro Cicognini, Shoe Shine; Vincent Scotto, The Well-digger's Daughter; Edouart Flament, La maternelle; Benjamin Britten, Instruments of the Orchestra; Nino Rota, Vivere in pace; Georges Auric, It Always Rains on Sunday) --g| Noise as Leitmotivt| (Georges Auric, It Always Rains on Sunday; Alan Rawsthorne, Uncle Silas; Walter Goehr, Great expectations; Brighton Rock) --g| Noisy music and musical noiset| (White Corridors) --t| Tonal structures; The documentary approach; The function of 'featured' musict| (Mischa Spoliansky, Turn the Key Softly; Camille Saint-Saens, L'assassinat du Duede Guise, The Blue Lamp, The Square Ring; Guy Warrack, A Queen is Crowned; Gilbert and Sullivan; Franz Waxman, Man on a Tightrope; The Man Between; Robert Gill, Valley of Song; Arthur Bliss, The Beggar's Opera) --g| Problems of Integrationt| (Malcolm Arnold, The Night My Number Came Up; Arthur Bliss, William Alwyn, Roberto Gerhard, War in the Air; Roman Vlad, Picasso; Lars-Erik Larsson, The Great Adventure; Karl-Birger Blomdahl, Sawdust and Tinsel) --g| Speech rhythmt| (William Alwyn, The Ship that Died of Shame; The Rocking Horse Winner) --t| Films and the ballett| (Brian Easdale, The Red Shoes; Arthur Benjamin, Steps of the Ballet) --t| 'Filmized' opera and oratorio.g| Revolution or retrogression?t| (Gioacchino Rossini, The Barber of Seville) --g| Another filmed operat| (Giuseppe Verdi, Rigoletto) --g| Tales from the Vienna Hollywoodst| (J.S. Bach, St. Matthew Passion) --t| Carmen a la Hollywood (Georges Bizet, Carmen Jones) --g| The operatic problemt| (Giacomo Puccini, Madame Butterfly) --g| Part 2.t| Film music composers.t| William Alwyn: Bad and great work': Cure for Love, The Rocking Horse Winner --t| 'Malcom Arnold Oscarred':t| The Bridge on the River Kwai --t| 'Georges Auric at film music's best': Lap ... respectueuse --t| Arnold Bax, Oliver Twist --t| Arthur Benjamin, The Conquest of Everest, Above Us the Waves --t| Leonard Bernstein, On the Waterfront --t| Benjamin Britten, Night Mail; A film analysis of the orchestra':t| A Young Person's Guide to the Orchestra --t| Anton Karas, The Third Man (with Kurt Weill, The Threepenny Opera) --t| Joseph Kosma, The Case of Dr. Laurent --t| Frank Loesser, Hans Christian Anderson --t| Gian Carlo Menotti, The Medium --t| Alan Rawsthorne, West of Zanzibar, Lease of Life, The Drawings of Leonardo da Vinci (2 essays) --t| 'The film-musical art of Renzo Rosselini': Roma, citta aperta --t| Matyas Seiber, Graham Sutherland --t| Virgil Thomson, Louisiana Story --t| Ralph Vaughan Williams, Scott of the Antarctic --t| Roman Vlad, La beaute du Diable --t| William Walton, Hamlet --g| Part 3:t| Film music criticism (composite columns).t| 'Film music: some objections': Miklos Rozsa, Spellbound; Charles Williams, Quiet Weekend; Nicholas Brodsky, Beware of Pity; Leigh Hasline, From This Day Forward --t| Arthur Honegger, Un revenant; Benjamin Frankel, London Belongs to Me; William Alwyn, The Winslow Boy; William Alwyn, The Fallen Idol; Leith Stevens, Night Song --g| 'Film music and no film music':t| Ian Whyte, Bonnie Prince Charlie; Miklos Rozsa, Secret Beyond the Door, 'No Film Music' (Le corbeau, Scarface, The Small Voice, Rope); Georges Auric, Another Shore; Antony Hopkins, It's Hard to be Good, Vice Versa, Lady Rohesia; Bernard Stevens, Once a Jolly Swagman --t| Roy Webb, Rachel and the Stranger; Hans J. Salter, Don't Trust Your Husband; Antony Hopkins, Vote for Hugget --t| William Alwyn, The History of Mr. Polly --t| Georges Auric, Silent Dust --t| Brian Easdale, The Small Back Room --t| Arthur Benjamin, Steps of the Ballet --t| Arthur Wilkinson, Once Upon a Dream --t| 'Nine Swiss Shorts' --t| Arthur Bliss, Christopher Columbus; Benjamin Frankel, Trottie True; Lars-Erik Larsson, Iris --t| Alban Berg, Lulu (film sequence from the opera) --t| 'Chromatic C major', Richard Arnell, The Land; Benjamin Frankel, Give Us This Day --t| Benjamin Frankel, The Net; Matyas Seiber, Alcoholism, Agriculture, Productivity; Carl de Groof, The Last Bridge; Felice Lattuada, The Overcoat --t| Andre Previn, Bad Day at Black Rock --t| Hugo Friedhofer, White Feather --t| Irving Berlin, There's No Business like Show Business --t| Rafael Larista, El Bruto --t| Leonard Bernstein, On the Waterfront --t| Benjamin Frankel, A Kid for Two Farthings, The Prisoner --t| Karl-Birger Blomdahl, Sawdust and Tinsel --t| Malcolm Arnold, 'Maximum Effort' from War in the Air --t| William Alwyn, 'Fifty North' from War in the Air --t| Georges Auric, The Lavender Hill Mob --t| Arthur Benjamin, Manana --t| Francis Chagrin, Charley Moon --t| Alan Rawsthorne, The Man Who Never Was --t| Matyas Seiber, A Short Vision, A Town Like Alice --t| William Walton, Richard III --t| 'Background and foreground music'.t| Benjamin Frankel, A Kid for Two Farthings --t| William Alwyn, Smiley --t| Arthur Benjamin, The Man Who Knew Too Much --t| Stanley Black, My Teenage Daughter --t| [Tonal Structures'] 'No Music'.t| Malcolm Arnold, A Hill in Korea --t| Benjamin Frankel, The Iron Petticoat --t| 'The International Scene' --t| Television music.t| Unite, Lowbrows! --t| 'Personality': BBC and ITV --g| For or against? --t| Welcome to William Glock --g| Problem of production --t| Lunch with Lionel Salter: Education, billings and announcements --t| NATO and Eurovision --t| ITV steps in; producing string players; new TV opera; thought for the century --g| The musical future.;

520 a| For forty years after the Second World War, the Austrian émigré Hans Keller (1919-85) was recognized as one of the commanding critical voices in British music. Forceful, witty, pugnacious and brilliantly focussed, he addressed every aspect of concert, chamber and operatic music, ancient and modern, with crusading zeal; and at the end of his life he was awarded a cross of honour by the President of Austria. Few people, however, know that he was also the outstanding film music critic of his day, a category he more or less invented. For twelve years from 1946 to 1958 he went tirelessly to press shows, made himself known to composers, music directors and technicians, wrote columns for several journals, especially Music Review, and championed the achievement of the British beyond all else. But he was also a musician in the line of Arnold Schoenberg and a wide-ranging cultural thinker in the tradition of Kant, Schopenhauer, Schiller and Freud. So as he dealt with the small change of journalism, he moved into the 'beyond' by reflecting deeply on the philosophy and topics of film music and the psychology of its composers. In 1959, during the nine months before he joined the BBC, he shifted his attention from cinema to television and wrote a no less innovative column for Musical Opinion. This book brings together the bulk of his writings on music and the screen and arranges them in four parts--topics, composers, criticism and television music--with a preface arguing 'The Need for Competent Film Music Criticism'. The result is a fastidiously observed and unparalleled account of a great era for British film music and a volume that in philosophical and ethical rigour stands well beside the celebrated Composing for the Films (1949) by Hanns Eisler and Theodor Adorno.;

650 0 a| Motion picture musicx| History and criticism.=| ^A20620;

700 1 a| Wintle, Christopher,e| editor.=| ^A359394;

830 0 a| Hans Keller archive ;v| 3.=| ^A714323;

994 a| C0b| ERE;

596 a| 3;

998 a| 1070730;

999 a| ML2075 .K44 2006w| LCc| 1i| 30372014044728d| 7/16/2014e| 3/5/2010f| 4/9/2024g| 4l| MSTm| JMUSICn| 3p| $28.45r| Ys| Yt| MGESBKu| 2/26/2007x| BOOKz| MCIRCo| .STAFF. enhanced 1/27/23 -jjab;

Film music and beyond : writing on music and the screen, 1946-59 / Hans Keller ; edited by Christopher Wintle.

Author/creator	Keller, Hans
Other author	Wintle, Christopher, editor.
Format	Book
Publication Info	London : Plumbago, 2006.
Description	xxviii, 255 pages : illustrations, music ; 25 cm.
Subjects	Motion picture music--History and criticism.

Series	Hans Keller archive ; 3 Hans Keller archive ; 3. ^A714323
Contents	The need for competent film music criticism. A pamphlet for those who care about film as art, with a final section for those who do not -- Part 1. Film music topics. The psychology of film music (Arthur Benjamin, Master of Bankdam; Georges Auric, La belle at la bete) -- The news and the muse -- Featured music: 'Classical' quotations -- The question of quotation (W.A. Mozart, Apartment for Peggy ; Felix Mendelssohn and Richard Wagner, Fools Rush In; W.A. Mozart, Lady Hamilton; J.S. Bach, La symphonie pastorale) -- Reply to Pizzetti -- Hollywood. Hollywood music: another view (various) -- Hollywood orchestrators: the dragon shows his teeth (Aaron Copland, The Heiress) -- From Auden to Hollywood (through route) (Frederick Hollander, Born to be Bad) -- British film music. An appeal to constructive consciences -- Film music: British -- LCMC-ICA failure -- Film music of the world -- Continental, British and American (Oscar Straus, La Ronde; Joseph Kosma, Three Telegrams; Benjamin Frankel, Appointment with Venus, Man in the White Suit; Alan Rawsthorne, Where No Vultures Fly; Daniele Amfitheatrof, Rommel: Desert Fox; Letter from an Unknown Woman) -- World review (Georges Auric, La belle et la bete; Bernard Herrmann, 5 Fingers; Alex North, Viva Zapata!; Bronislau Kaper, Invitation; Michael Jary, Madchen mit Beziehungen; Wolfgang Zeller, Der Schatten des Herrn Monitor; Alois Melichar, Maria Theresia; Gustavo Pitaluga, Los Olvidados; Dag Wiren, Mademoiselle Julie -- Film-musical ingredients. Film-musical atmosphere (The Festival of Youth; Bob Busby, Holiday Camp; Rene Cloerec, Douce; Franz Waxman, The Two Mrs. Carrolls -- Music in documentary film (The Edinburgh Festival) -- The film dirge (John Woolridge, Fame is the Spur; Bretton Byrd, The White Unicorn; Miklos Rosza, Jungle Book; Alan Rawsthorne, Uncle Silas; Yves Baudrier, Bataille du Rail) -- The simple tune (Alessandro Cicognini, Shoe Shine; Vincent Scotto, The Well-digger's Daughter; Edouart Flament, La maternelle; Benjamin Britten, Instruments of the Orchestra; Nino Rota, Vivere in pace; Georges Auric, It Always Rains on Sunday) -- Noise as Leitmotiv (Georges Auric, It Always Rains on Sunday; Alan Rawsthorne, Uncle Silas; Walter Goehr, Great expectations; Brighton Rock) -- Noisy music and musical noise (White Corridors) -- Tonal structures; The documentary approach; The function of 'featured' music (Mischa Spoliansky, Turn the Key Softly; Camille Saint-Saens, L'assassinat du Duede Guise, The Blue Lamp, The Square Ring; Guy Warrack, A Queen is Crowned; Gilbert and Sullivan; Franz Waxman, Man on a Tightrope; The Man Between; Robert Gill, Valley of Song; Arthur Bliss, The Beggar's Opera) -- Problems of Integration (Malcolm Arnold, The Night My Number Came Up; Arthur Bliss, William Alwyn, Roberto Gerhard, War in the Air; Roman Vlad, Picasso; Lars-Erik Larsson, The Great Adventure; Karl-Birger Blomdahl, Sawdust and Tinsel) -- Speech rhythm (William Alwyn, The Ship that Died of Shame; The Rocking Horse Winner) -- Films and the ballet (Brian Easdale, The Red Shoes; Arthur Benjamin, Steps of the Ballet) -- 'Filmized' opera and oratorio. Revolution or retrogression? (Gioacchino Rossini, The Barber of Seville) -- Another filmed opera (Giuseppe Verdi, Rigoletto) -- Tales from the Vienna Hollywoods (J.S. Bach, St. Matthew Passion) -- Carmen a la Hollywood (Georges Bizet, Carmen Jones) -- The operatic problem (Giacomo Puccini, Madame Butterfly) -- Part 2. Film music composers. William Alwyn: Bad and great work': Cure for Love, The Rocking Horse Winner -- 'Malcom Arnold Oscarred': The Bridge on the River Kwai -- 'Georges Auric at film music's best': Lap ... respectueuse -- Arnold Bax, Oliver Twist -- Arthur Benjamin, The Conquest of Everest, Above Us the Waves -- Leonard Bernstein, On the Waterfront -- Benjamin Britten, Night Mail; A film analysis of the orchestra': A Young Person's Guide to the Orchestra -- Anton Karas, The Third Man (with Kurt Weill, The Threepenny Opera) -- Joseph Kosma, The Case of Dr. Laurent -- Frank Loesser, Hans Christian Anderson -- Gian Carlo Menotti, The Medium -- Alan Rawsthorne, West of Zanzibar, Lease of Life, The Drawings of Leonardo da Vinci (2 essays) -- 'The film-musical art of Renzo Rosselini': Roma, citta aperta -- Matyas Seiber, Graham Sutherland -- Virgil Thomson, Louisiana Story -- Ralph Vaughan Williams, Scott of the Antarctic -- Roman Vlad, La beaute du Diable -- William Walton, Hamlet -- Part 3: Film music criticism (composite columns). 'Film music: some objections': Miklos Rozsa, Spellbound; Charles Williams, Quiet Weekend; Nicholas Brodsky, Beware of Pity; Leigh Hasline, From This Day Forward -- Arthur Honegger, Un revenant; Benjamin Frankel, London Belongs to Me; William Alwyn, The Winslow Boy; William Alwyn, The Fallen Idol; Leith Stevens, Night Song -- 'Film music and no film music': Ian Whyte, Bonnie Prince Charlie; Miklos Rozsa, Secret Beyond the Door, 'No Film Music' (Le corbeau, Scarface, The Small Voice, Rope); Georges Auric, Another Shore; Antony Hopkins, It's Hard to be Good, Vice Versa, Lady Rohesia; Bernard Stevens, Once a Jolly Swagman -- Roy Webb, Rachel and the Stranger; Hans J. Salter, Don't Trust Your Husband; Antony Hopkins, Vote for Hugget -- William Alwyn, The History of Mr. Polly -- Georges Auric, Silent Dust -- Brian Easdale, The Small Back Room -- Arthur Benjamin, Steps of the Ballet -- Arthur Wilkinson, Once Upon a Dream -- 'Nine Swiss Shorts' -- Arthur Bliss, Christopher Columbus; Benjamin Frankel, Trottie True; Lars-Erik Larsson, Iris -- Alban Berg, Lulu (film sequence from the opera) -- 'Chromatic C major', Richard Arnell, The Land; Benjamin Frankel, Give Us This Day -- Benjamin Frankel, The Net; Matyas Seiber, Alcoholism, Agriculture, Productivity; Carl de Groof, The Last Bridge; Felice Lattuada, The Overcoat -- Andre Previn, Bad Day at Black Rock -- Hugo Friedhofer, White Feather -- Irving Berlin, There's No Business like Show Business -- Rafael Larista, El Bruto -- Leonard Bernstein, On the Waterfront -- Benjamin Frankel, A Kid for Two Farthings, The Prisoner -- Karl-Birger Blomdahl, Sawdust and Tinsel -- Malcolm Arnold, 'Maximum Effort' from War in the Air -- William Alwyn, 'Fifty North' from War in the Air -- Georges Auric, The Lavender Hill Mob -- Arthur Benjamin, Manana -- Francis Chagrin, Charley Moon -- Alan Rawsthorne, The Man Who Never Was -- Matyas Seiber, A Short Vision, A Town Like Alice -- William Walton, Richard III -- 'Background and foreground music'. Benjamin Frankel, A Kid for Two Farthings -- William Alwyn, Smiley -- Arthur Benjamin, The Man Who Knew Too Much -- Stanley Black, My Teenage Daughter -- [Tonal Structures'] 'No Music'. Malcolm Arnold, A Hill in Korea -- Benjamin Frankel, The Iron Petticoat -- 'The International Scene' -- Television music. Unite, Lowbrows! -- 'Personality': BBC and ITV -- For or against? -- Welcome to William Glock -- Problem of production -- Lunch with Lionel Salter: Education, billings and announcements -- NATO and Eurovision -- ITV steps in; producing string players; new TV opera; thought for the century -- The musical future.
Abstract	For forty years after the Second World War, the Austrian émigré Hans Keller (1919-85) was recognized as one of the commanding critical voices in British music. Forceful, witty, pugnacious and brilliantly focussed, he addressed every aspect of concert, chamber and operatic music, ancient and modern, with crusading zeal; and at the end of his life he was awarded a cross of honour by the President of Austria. Few people, however, know that he was also the outstanding film music critic of his day, a category he more or less invented. For twelve years from 1946 to 1958 he went tirelessly to press shows, made himself known to composers, music directors and technicians, wrote columns for several journals, especially Music Review, and championed the achievement of the British beyond all else. But he was also a musician in the line of Arnold Schoenberg and a wide-ranging cultural thinker in the tradition of Kant, Schopenhauer, Schiller and Freud. So as he dealt with the small change of journalism, he moved into the 'beyond' by reflecting deeply on the philosophy and topics of film music and the psychology of its composers. In 1959, during the nine months before he joined the BBC, he shifted his attention from cinema to television and wrote a no less innovative column for Musical Opinion. This book brings together the bulk of his writings on music and the screen and arranges them in four parts--topics, composers, criticism and television music--with a preface arguing 'The Need for Competent Film Music Criticism'. The result is a fastidiously observed and unparalleled account of a great era for British film music and a volume that in philosophical and ethical rigour stands well beside the celebrated Composing for the Films (1949) by Hanns Eisler and Theodor Adorno.
General note	Published in association with The William Alwyn Foundation.
Bibliography note	Includes bibliographical references (pages 243-248) and index.
ISBN	0954012364 (pbk.)
ISBN	9780954012366 (pbk.)
ISBN	0954012372 (hbk.)
ISBN	9780954012373 (hbk.)

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Music	Music Stacks	ML2075 .K44 2006	✔ Available	Place Hold

Film music and beyond : writing on music and the screen, 1946-59 / Hans Keller ; edited by Christopher Wintle.

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