Fans of classical music often lament the modern implosion of the genre, Bryan Caplan explains:
We had the Baroque Period, usually dated from 1600-1750. We had the Classical Period, usually dated from 1750-1825. We had the Romantic Period, usually dated from 1825-1900. Ever since, we’ve been stuck in the Modern Period: 1901-present.
When the characteristically atonal music of the Modern Period first appeared, many predicted that fans would eventually come to love it, but almost no one sincerely has. The only widely beloved post-1900 composers in the classical repertoire are Late Romantics like Rachmaninoff and Shostakovich. Since their heyday, classical fans periodically curse the stars: “How come no one continues to compose in the greatest of all musical genres?”
It’s true, I’ll grant, that over the last century, little notable music has been written in the genres of 1600-1825. The Romantic Era, however, is still going strong. […] Though they’re rarely performed live, billions of people enjoy them on screens big and small.
I’m speaking, of course, of soundtracks. And while it’s tempting to dismiss them as insufferably low-brow “background music,” I maintain that the best soundtracks of the post-war era compare favorably to notable compositions of the official Romantic Period. While I doubt that any soundtrack equals or exceeds the peaks, many are at the 80th or even the 90th percentile of quality of 19th-century compositions.
His recommendations:
- Cloud Atlas (2012), composed by Johnny Klimek, Tom Tykwer and Reinhold Heil
- The Lord of the Rings (2001–2003), composed by Howard Shore
- 127 Hours (2010), composed by A.R. Rahman
- The Last of the Mohicans (1992), composed by Trevor Jones
- Lawrence of Arabia (1962), composed by Maurice Jarre
- Flukt (2012), composed by Magnus Beite
- The Shrine (2010), composed by Ryan Shore
- Gladiator (2000), composed by Hans Zimmer and Lisa Gerard
- The Red Violin (1999), composed by John Corigliano
- X2: X-Men United (2003), composed by John Ottman
- The Usual Suspects (1995), composed by John Ottman
- The Good, the Bad, and the Ugly (1966), composed by Ennio Morricone
- Snow White and the Huntsman (2012), composed by James Newton Howard
- Legends of the Fall (1995), composed by James Horner
- Star Wars (1977), composed by John Williams
I would add Conan The Barbarian (1982), composed by Basil Poledouris:
For some square pegs for this round hole:
Inception https://www.youtube.com/watch?v=vnkiVa4A-F8
Terminator https://www.youtube.com/watch?v=TNonL1_TBz0&list=PLfzW_wEeYxk76g6wdH-02u1h5XW7RIdqG&index=7
Truman Show https://www.youtube.com/playlist?list=PLRW80bBvVD3UrKZM8QBjXMXiKlmrOKgX0
I’m surprised John Williams got so little mention. He did Saving Private Ryan, a couple of Jurassic Parks, a couple of Harry Potters… The list is really impressive:
https://en.wikipedia.org/wiki/List_of_compositions_by_John_Williams
He was also Director of the Boston Pops for a few years, succeeding Arthur Fiedler.
I was just talking with a friend about this and the only two modern composers of any renown who didn’t make their name on movie soundtracks or as Romantics we could think of were Arvo Part and Joaquin Roderigo.
Of note, I recommend Rodrigo’s, “Concierto Como un Divertimento,” the Allegretto in particular is very nice.
https://www.youtube.com/watch?v=AUo3fQMD-lY
Soundtracks need to be shortened into suites to make them digestible in the concert time frame. The Nutcracker Suite we are all so familiar with, for instance, is simply a shorter version of the 90 minute Nutcracker Ballet, comprising its catchiest themes. The same should be done with movies soundtracks.
Faze, since I first heard it I thought James Horner’s Wrath of Khan soundtrack would be a perfect fit for a Horatio Hornblower movie — and while I still prefer the whole thing with the tracks in their original order, someone’s made a lovely suite of it.
https://youtu.be/HQHyrPlOb_4?si=rofpgGQCOcbJkAAC
He seems to have made suites of other soundtracks as well.