Conductor finds classic movie themes influenced by Anton Bruckner | Lubbock Online | Lubbock Avalanche-Journal

2/9/16, 11:32 PM

Conductor *nds classic

movie themes
in3uenced by Anton
Bruckner
Published: Friday, March 06, 2009
WILLIAM KERNS
Composer Anton Bruckner, who lived from 1824 to 1896, will be celebrated as the "grandfather of *lm
music" in Lubbock Symphony Orchestra concerts at 8 p.m. today and Saturday at the Lubbock Memorial
Civic Theatre, 1501 Mac Davis Lane.
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Golka
Only two years before Bruckner's death, Thomas Edison was using his Kinetoscope to *lm such plots as
a sneeze and a routine by a vaudeville music hall performer.

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Bruckner had been laid to rest for some time before narrative *lm arrived with George Melies' "A Trip to
the Moon" in 1902 and Edwin S. Porter's "The Great Train Robbery" in 1903.
He died more than 90 years before any *lm music being featured had been composed.
Yet Lubbock Symphony Orchestra conductor Tomasz Golka reveres Bruckner as one who "in3uenced
virtually every *lm composer."
It was only after he was assured of Bruckner's in3uences by honored contemporary composer Howard
Shore that Golka conceived the idea for such a modern, unique, orchestral approach to *lm music.
Tickets are selling quickly for this weekend's concerts, which open with the orchestra performing often
recognizable themes from the following American motion pictures:
l Tim Burton's "Batman" (1989), composed by Danny Elfman.
l Francis Ford Coppola's "Bram Stoker's Dracula" (1992), composed by Wojciech Kilar.
l David Lean's "Lawrence of Arabia" (1962) overture, composed by Maurice Jarre.
l William Wyler's "Ben Hur" (1959) love theme, composed by Miklos Rozsa.
l Peter Jackson's "Lord of the Rings" (2001), composed by Howard Shore
Each concert will close with Bruckner's Symphony No. 6 in A Major, written in 1881.
Just as interesting is LSO conductor and music director Golka's opinions of *lm and *lm music as a
whole, and why he chose these speci*c compositions for this concert.
Golka agreed to answer questions e-mailed to him about Bruckner, *lm music and this weekend's
concerts:
Tomasz, you and I have spoken before about the demands of your job, and how dif=cult it
is for you to set everything aside and attend a movie. Just how often do you go to the
movies, or rent them?
I don't really have much time for *lms. But when I have an opportunity, I do love *lm.
Are you a true movie fan?
Yes. For me, there are two types of *lm that I watch. One is brainless entertainment (this includes turning
on TV occasionally), which helps me to "stop thinking" after a long day. I don't value this much at all. It is
of little interest to me.
The *lms that I love are, in the United States, called "art *lms" (an unfortunate title, as all *lm should be
artistic, no?). These are the *lms of directors such as (Werner) Herzog, (Pedro) Almodovar, (Rainer
Werner) Fassbinder, and (others making) many indie *lms here. For the most part, I don't really like recent
(last 10-20 years), mainstream Hollywood *lms. I feel cinema has really gone downhill. There just are not
any more mainstream *lms like "Lawrence of Arabia," "Ben Hur," "Breakfast at Tiffany's" Or "La Dolce Vita."
Do you keep up with popular *lms, or ones winning Oscars for original score?
No.
When did you begin paying attention to music in *lm?
I used to love Miklos Rozsa's music as a child, so I saw every *lm he wrote the music for.
Do you have a favorite among those composing music for *lm?
I think Rozsa, as stated above, I have always had a soft spot for. Also Wojciech Kilar has written some
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very interesting pieces and *lm music.

For many years, men and women composing for feature *lms felt looked down upon by composers of
more "serious" music. Can you think of reasons?
I don't know that it is a matter of looking down. It is just that *lm music takes almost all of its ideas from
concert music. The purpose of the concert we are doing is to show how Bruckner inspired almost every
*lm composer. Film composers, for the most part, don't create new sounds and expand the musical
vocabulary or language. They just take pre-existing vocabulary and use it in a creative way
If you look at the music that was thought to be "too modern" 80 to 100 years ago, this is where *lm music
is today. So, in a sense, *lm music usually is "behind" concert music. I think that's the only issue. The
things audiences consider "too modern" (if there is such a thing) will appear in "Terminator Part 17" 80
years from now (perhaps).
Do you share a feeling that *lm music, written in shorter segments, lacks depth, imagination or passion?
Golka: I don't really consider *lm music to be of equal depth to concert music. Music is the servant of the
*lm's action in one case, as opposed to a servant of itself. I think the experience of a Beethoven piano
sonata, or a Bruckner symphony, or for that matter even the simplest and shortest work by Bach, will
always have more depth than *lm music. But it isn't because of a lack of talent of the composers or
anything like that. It is because of the function the music serves.
The same thing could be said of some operas in which the music is not in the foreground, but the action
is. Of course, the greatest of operas generally do not suffer from this (Wagner, Mozart, etc.) I think that to
have the deepest experience with music, the music must be written for the sake of itself. There is no
other purpose than the experience of the piece. It does not need a *lm or a plot. If the *lm or plot can
compliment the music, great. But generally, it goes the other way around.
Please speak from the heart and tell us why you want to shine such a huge light on Anton Bruckner.
Bruckner, along with Bach, is, for me, the greatest of composers. No experience is like that of a Bruckner
symphony. It is like the deepest meditation or prayer. There is no story line, just the natural evolution of
the musical line or idea (like the leaf on a tree).
Rather than consistently composing directly for *lm, Bruckner is a composer you describe as one who
in3uenced virtually every *lm composer.
Bruckner died before *lms were even around ... but who knows what would have happened if he had lived
longer? Wagner, his idol, certainly wrote operas that are like epic *lms, and I'm sure he would have
involved himself in *lm if he lived long enough. I don't know necessarily that Bruckner realized how and
whom he would in3uence with his epic symphonies, but certainly his impact is undeniable.
Howard Shore himself, whom I was very fortunate to meet and work with, told me what a great inspiration
Bruckner always was to him. That's where I got the idea for this concert.
What are Bruckner's in3uences that *lm composers latch onto?
Golka: The harmonies, the wonderful colors, and the epic quality of the music.
Was it always your intent to close with Bruckner's Symphony No. 6?
Yes. The concert is about Bruckner. Film music stems out of that.
I'd love to know which other composers, or *lms, were considered for this LSO concert.
I think there was some talk of John Williams: "Superman" and "Catch Me If You Can."

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Of the *ve *lms whose themes you chose - Elfman's "Batman," "Ben Hur," Kilar's "Dacula," "Lawrence of
Arabia" and "Lord of the Rings" - which is your personal favorite.
"Dracula" and "Ben Hur."
Was it important that *lm themes played at this concert be recognizable?
These are some of the most famous themes from *lms. ... I think when it comes to *lm music, people
want to hear themes they recognize. When it comes to concert music, the whole experience is what
people (I hope) come for.
I'm certain you knew this was coming: Please write brie3y about each *lm theme you chose. What about
"Lord of the Rings?"
Because, as I said, this is (via Howard Shore) what sparked the whole idea. This is the most closely
related in sound to Bruckner.
And "Batman?"
Also, very Brucknerian. The chords Elfman uses at the beginning are right out of Bruckner (or Wagner).
"Ben Hur?"
This is not the most Brucknerian of the *lms, but there is only so much loud playing the brass can do with
a 60-minute Bruckner symphony in the second half. So I chose one of the more lyrical movements that
focuses on strings.
"Lawrence of Arabia?"
The main theme of this *lm is almost verbatim the main theme of the Bruckner 6. I hope this will, beyond
the shadow of a doubt, show the in3uence.
And Kilar's music for "Bram Stoker's Dracula?"
Kilar is just a very fascinating composer, alternating between dark Wagnerian harmonies and minimalism.
This is also a great *lm.
Did you consider whether some *lm music might *t more comfortably into the parameters of a serious
concert or a Pops concert?
I don't like these boundaries. I think the juxtaposition of Bruckner with those inspired by him will be
fascinating. It also gives an opportunity for Lubbock audiences to experience one of the great masters
(Bruckner), whose music they may not be familiar with, in tandem with some very famous (*lm) music.
To comment on this story:
[email protected] (mailto:[email protected]) 766-8712
[email protected] (mailto:[email protected]) 766-8747

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