Reel Classics

Composer, arranger and conductor Nicholas Buc was the perfect choice to lead the QSO in last night's performance of a fascinating and eclectic selection of the music of famous film score composers. With his impressive experience in the industry and passion and knowledge of the subject and the inclusion of scores from the 1930's up to the 1980's, it was indeed a night of mixed emotions not only because of the music itself but also the reminiscences associated with those memorable movies buried deep in our psyche. Composers chosen for this concert included such greats as John Barry, Max Steiner, Miklos Rozsa, Bernard Hermann and more recently John Williams, now a nonagenerian and, remarkably, still musically active.

After a cheerful introduction from one of the cello players, the guest conductor, with a warm, charismatically coherent and personable demeanor, followed suit with a fascinating account of each of the score's background, including how some of it came to be, or else, in some cases, if at all: such an indication of the trial and error associated with any new opus, particularly if there is more than one person involved with its execution. For example, many probably aren't aware that the song 'Moon River' was nearly cut from the movie or else of the tempestuous relationship between Bernard Hermann and Alfred Hitchcock, though some might argue such sparks can often contribute to the creative process.

What was engrossing about this concert was the opportunity to experience the gradual transition from traditional European influences in Hollywood to the era of jazz and pop internationally: John Barry's contribution to the Bond films and Henry Mancini's popular melodic style are a good example. Though some of this music works well in the film medium, it was interesting to notice the lack of lush orchestration compared to its predecessors, when movie epics were more the norm and a considerable major event, sometimes including an overture, an interval, a printed programme and even two sets of opening and closing curtains. I well remember this phenomenon with the screening of 'Ben Hur' at the Metro Bourke Street cinema in Melbourne (now no more). I miss some of these movies ('Lawrence of Arabia', with a superb score by Maurice Jarre, also included in the concert as with Max Steiner's 'Gone With the Wind') and so experiencing the film 'soundstage' at this concert was in some way an additional visual experience, watching in ones mind's eye all those mesmerizing scenes and vistas captured by the magic of the photographers and various forms of cinematic presentation.

But perhaps what was more of a highlight for avid concert-goers was to hear displayed the masters of orchestration with less association to the movie. This was particularly apparent with the included 'triple bill' of Bernard Hermann's chromatic score for Hitchcock's 'Vertigo', the composer having the capability to create a work more symphonic, full of torrid depth and colour: a superb choice for this concert and material meaty enough for an orchestra of QSO's caliber to really get their teeth into.

Another surprise and welcome addition was Ronald Hanmer's 'Pastorale', chosen by the Australian radio producers for the staggering 27-year run of 'Blue Hills'. There were many sighs in the auditorium on introduction of the piece which included details of the history associated with its production and the fact that some of the orchestra played on the original recording of the theme's expansion into a Rhapsody by the British composer (who, co-incidentally, eventually settled in Queensland later on in life).

These kind of concerts emphasize even more the power of music, that it's sometimes not always apparent where-ever we are but take it away and we would certainly notice the difference, particularly in the movies.

Being an ambitious film composer in my youth (a composer of no 'note', with limited opportunity, in those days!) and, of course, yet another movie fan - my attraction to movie themes was almost obsessive then - I was certainly pleased to be able to review this concert. It was therefore a most memorable evening for more reasons than one, not only for me but also for the appreciative audience who begged for an encore. This was duly dished out and was indeed an apt after-dinner-mint at that!

Brian Adamson