Hollywood's embrace of classical music has been a fascinating journey, one that has not only shaped the film industry but also transformed the way we experience live classical music performances. This trend, which has seen the rise of live orchestral concerts paired with blockbuster film screenings, is a testament to the enduring appeal of classical music and its ability to adapt and thrive in new environments. But what makes this phenomenon particularly intriguing is the historical context and the evolution of audience behavior that it reflects. In this article, I will delve into the story of how Hollywood became a new home for classical music's grandest ideas, exploring the historical roots, the impact on the screen music industry, and the broader implications for the future of classical music.
A Historical Context
To understand the current trend, we must look back to the 19th century. Opera houses, grand and opulent, were built to maximize social interaction and the observation of other audience members. Composers like Giuseppe Verdi and Giacomo Puccini wrote and staged operas with huge orchestras, but some attendees barely heard or saw anything during the performance. This changed when Richard Wagner built a theater in the small German town of Bayreuth to stage his operas. The theater, with its darkened room and orchestra obscured in the pit, changed audience behavior and introduced the musical concept of leitmotif, a recurring musical idea associated with a person, place, or situation. This concept became an important building block for later film composers.
Hollywood's Embrace of Classical Music
In the 1930s, when Hollywood wanted to build some cultural cachet, they turned to classical music. Warner Brothers, for instance, wanted a great big-name composer to write a soundtrack so that they might be taken seriously. The big name they turned to was Erich Korngold, a composer following in the footsteps of Wagner. Korngold, who was Jewish, changed his mind after Germany annexed Austria and scored The Adventures of Robin Hood, becoming one of the first composers of international stature to write for Hollywood. He blazed the trail for later composers like John Williams, Howard Shore, and Hildur Guðnadóttir, among countless others.
The Screen Music Industry Today
By the time Australian composer Jessica Wells had her 'baptism of fire' working with Hollywood composers and engineers in 2006, the screen music industry was a well-established ecosystem. Wells, who often orchestrates other people's music, has worked with composers including John Powell on Happy Feet and How to Train Your Dragon, and Elliott Wheeler on the Elvis biopic. Her deep knowledge of orchestral instruments allows her to translate the composer's intentions to the performers reading the notes. This involves everything from ensuring the players' parts are in the right key to knowing what notes they can or can't play well.
Bringing the Screen to Symphonic Orchestra Concerts
In the 1920s, Australian audiences often heard live orchestras accompany premiere silent-film screenings. However, this disappeared in the 1930s when orchestras were replaced by synchronized soundtracks and visuals. It took nearly half a century before film and live orchestras started coming together again. Around 2010, film companies began officially partnering with orchestras to present films-in-concert. Conductors like Nicholas Buc, a lifelong movie buff, have played a pivotal role in this revival, conducting films-in-concert with orchestras around Australia. These films have become a gateway for people to experience a symphony orchestra concert for the first time, introducing them to other areas of classical music, such as music by female composers.
Broader Implications
The trend of live orchestral concerts paired with blockbuster film screenings has broader implications for the future of classical music. It has the potential to introduce new audiences to the genre, particularly younger generations who may not have otherwise engaged with classical music. Additionally, it can serve as a platform for female composers, as seen in Jessica Wells' work with symphony orchestras across Australia to tell the story of Mozart's Sister, Maria Anna. However, for some people, these experiences are significant concerts in their own right, connecting with their cultural life in a totally different way.
In conclusion, Hollywood's embrace of classical music has been a fascinating journey, one that has not only shaped the film industry but also transformed the way we experience live classical music performances. As we look to the future, it will be interesting to see how this trend continues to evolve and what new opportunities it presents for the classical music world.
