By Professor John C. Tibbetts
Amadeus . . . Yankee Doodle Dandy . . . Swanee River . . . Rhapsody in Blue. Even prior to videos had sound, filmmakers dramatized the lives of composers. motion picture biographies—or biopics—have depicted composers as different as Wolfgang Amadeus Mozart, George M. Cohan, Stephen Foster, and George Gershwin. during this attractive ebook, the 1st dedicated completely to such movies, John C. Tibbetts surveys diverse kinds and sessions from the Hollywood of the Twenties and Nineteen Thirties to the foreign cinema of this present day, exploring the position that movie biographies play in our realizing of heritage and tradition. Tibbetts delves into such questions as: How traditionally actual are composer biopics? How and why have inaccuracies and distortions been perpetrated? What techniques were used to symbolize visually the inventive strategy? The booklet examines the movies in numerous contexts and considers their function in commodifying and popularizing song. wide archival study, dozens of illustrations, and various interviews make this an beautiful publication for movie and song fans in any respect levels.
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Extra info for Composers in the Movies: Studies in Musical Biography
She is in love with a dashing soldier, Count von Hohlenberg (Carl Esmond), whom she cannot marry because of a rule prohibiting professional soldiers to marry beneath their class. Realizing that Vickie’s happiness is more important than his own, Schubert hides his tears and intervenes with the Archduchess to overturn the law and allow the lovers to marry. Schubert sings his own ‘‘Ave Maria’’ at the church wedding. At the end he retires alone to his garret, his song still echoing in his ears. 26 The Classical Style The ‘‘possessed’’ side of the paradigm is intact: Schubert is a genius but his gifts are more instinctive than learned (indeed, as the passive vehicle of the Muse, he hardly seems to compose at all).
I beg your pardon, Herr Strauss,’’ he says. ’’ All this is not lost on the jealous Rasi, who resents Strauss’s obvious affections for the Countess and his ambitions to leave the bakery. He protests, ‘‘I’ve given up everything for you. All my dreams. ’’ In desperation, Rasi turns to the Countess for support. But the Countess is supportive of Strauss’s musical career. ’’ Rasi resigns herself to the fact that Strauss will choose his career over her. Back in his apartment, Strauss finds the Countess, who has come to congratulate him on his success at the beer garden.
As she auditions her role, the lamplighters and shopkeepers outside gather outside the window in hushed reverence. The set piece of the film is Handel’s composing of Messiah.
Composers in the Movies: Studies in Musical Biography by Professor John C. Tibbetts