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Music, opera and film.(Film)(Critical Essay)
Quadrant
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September 01, 2003 |
McDonald, Neil |
COPYRIGHT 2003 Quadrant Magazine Company, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright
A FEW WEEKS AGO I attended one of those postmodernist concerts, where Mozart's Requiem was interwoven with modern pieces by the likes of John Tavener on similar themes. The rationale was supposedly explained in an elaborate program note intended to be read carefully by the audience prior to the concert co much so, that by the time my companion and I arrived they were all sold out. Minus the "explanation" we were both simply exasperated, as some fine contemporary music was devastated by the Mozart. It reminded me of a line from the Warner Brothers melodrama Deception. When Claude Rains' imperious composer is asked by his protege/lover (Bette Davis) why he has skipped the ...
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Source: HighBeam Research, Music, opera and film.(Film)(Critical Essay)