Music on the Orient Express

Twelve suspects, two composers, one train.
by Paul J. Pelkonen

Kenneth Branagh (left) and Albert Finney sport their mustaches as Hercule Poirot
in two very different versions of Murder on the Orient Express. Images © 2017 and 1974.

So in the middle of writing this year's Metropolitan Opera Preview (currently three posts done out of twenty-five) I found the time to watch Kenneth Branagh's 2017 remake of Murder on the Orient Express. And this tale of train-board derring-do gives me the opportunity to write about one of my favorite subjects: film music. In this case, we'll be discussing the scores of both the new movie and the 1974 classic, directed by Sidney Lumet. It should be noted that I approached the Branagh remake with some trepadition, as the Lumet film is one of my all-time favorite movies.

Concert Review: Sometimes the Bad Guys Win

The New York Philharmonic plays The Empire Strikes Back.
by Paul J. Pelkonen

The father-son reunion at the climax of Star Wars Episode V: The Empire Strikes Back.
Image © 1980 LucasFilm, Twentieth Century Fox, The Walt Disney Company.

Episode V: The Empire Strikes Back is generally considered to be the best Star Wars film ever made. The dark middle chapter of the original trilogy came out in 1980 as the second movie released, and remains a firm fan favorite. It boasts an expanded universe, a complicated storyline alternating between the flight of Han Solo and Princess Leia from the evil and remorseless Darth Vader, and the Jedi training of Luke Skywalker at the hands of the diminuitive but wise Yoda.

Festival Preview: Star Wars at the New York Philharmonic

A long time ago, in a concert hall far away...
by Paul J. Pelkonen

His name is Lord Vader. Be extremely polite.
Star Wars art © 2017 Lucasfilm, Twentieth Century Fox and the Walt Disney Company,
used for purposes of promoting the New York Philharmonic only. 

In recent years, the New York Philharmonic has jumped squarely on the bandwagon of playing orchestral scores as accompaniment to popular films. This month though, America's oldest orchestra takes that experiment to hyperspace with the Star Wars Film Concert Series: performances of four of the seven films in the Star Wars franchise, with the orchestra thundering away (under the baton of David Newman) as the adventures of Luke Skywalker, Han Solo and Princess Leia spool forth onscreen. With Star Wars: The Last Jedi coming out in December, this three-week cinematic marathon is just the place for Star Wars fans to get their inner Force into balance.

Concert Review: A Hook and an Uppercut

The New York Philharmonic plays On The Waterfront.
by Paul J. Pelkonen

Give him the hook: Marlon Brando in On the Waterfront.
Photo © 1954 Columbia Pictures. 

In the history of the New York Philharmonic, no conductor is more revered or loved than Leonard Bernstein, the Massachusetts-born composer who held the post of music director from 1958-1969. On Friday night at the soon-to-be-renamed Avery Fisher Hall, the Philharmonic kicked off this year's series celebrating film music with Bernstein's lone film score: On The Waterfront.

Concert Review: The Rightful Pumpkin King

Danny Elfman opens the Lincoln Center Festival.
by Paul J. Pelkonen

Danny Elfman in full flight.
Photo by Beatrize Creative © 2015 Lincoln Center Festival

The gulf between "serious" composers and those who write music for Hollywood films is an unfortunate and artificial one, enforced by a music community that refuses to consider the film score as a legitimate means of creative expression. This summer, the Lincoln Center Festival seeks to breach that gap with Danny Elfman: Music from the Films of Tim Burton, a career-spanning retrospective concert program that chronicles a creative partnership that has lasted for fifteen films and thirty years.

Of Salt Spray and Space Warps

Superconductor remembers the music of composer James Horner.
by Paul J. Pelkonen

The U.S.S. Enterprise (top) fires on the U.S.S. Reliant in Star Trek II: The Wrath of Khan.
Image © 1982 Paramount Pictures,

The composer James Horner died yesterday when his single-engine plane crashed in California. Mr. Horner was an acclaimed film composer with a wide range of credits, from Aliens to his award-winning Celtic-influenced scores for Titanic and Braveheart. But what he will always be associated with (in the mind of this writer at least) is his two symphonic scores for Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock.

Blues for a Monster

(or, when Wagner meets Star Trek.)
by Paul J. Pelkonen

A view of the space entity "V'Ger" from Star Trek: The Motion Picture.
Image © 1978 Paramount Pictures.

The second act of Wagner's Siegfried, (the third opera of the Ring Cycle, opening at the Met on Oct. 27) starts with a long, dark prelude, depicting the dark forest cave ("Neidhole") that is the resting place of the dragon Fafner. The prelude was dubbed  "Fafner's Repose" by musicologist Ernest Newman in his invaluable book The Wagner Operas.

A slow tremolo in the 'cellos and basses, and the timpani player taps out a dark, five-note theme representing the dragon. This is followed by a taxing contrabass tuba solo that pushes player and instrument to the utmost. This solo takes tremendous skill and breath control.

The curse theme (first heard in Das Rheingold) rings out in the bass trumpet and then gets a thorough working-out in the bass trombones. The timpani rhythm returns, setting the stage for the coming battle between the Wurm and the title character.

Here's what's going on in the scene: Fafner possesses the Ring of the Nibelung, and has done so for at least 40 years (counting from the birth of Siegmund and Sieglinde before the last opera Die Walküre.) Transformed by the Tarnhelm into a fearsome dragon, the ex-giant spends most of his time sleeping in a cave, contemplating the fact that he achieved ownership of the Ring, Tarnhelm, and Nibelung hoard by killing his brother.

Here's the music:

This  prelude was echoed, 100 years later, by Hollywood composer Jerry Goldsmith in his score for Star Trek: The Motion Picture. In the scene (depicted below) the Enterprise has its first close encounter with V'Ger, the 59-mile-long alien spacecraft that is threatening Earth.

Watch the scene below:

The Trek score makes use of similar orchestration, dark, growling strings and a lung-busting tuba solo that lets the viewer know what a majestic and totally badass Alien Entity this is. It also makes use of the Blaster Beam, a 20-foot long electric instrument (like a giant pedal steel guitar) that is either struck or played using an artillery shell as a slide.

Like the Wagner score, Jerry Goldsmith's music for V'Ger has a quality of dark loneliness brought on by absolute power. There is a grim, uncertain yearning in this music that makes it among the younger composer's best work.

V'Ger has travelled across the galaxy in search of its "creator." The giant craft, which obliterates everything it encounters (digitizing ships, space stations and whole planets as "data storage") lives in a giant "power cloud" twice the size of the distance from Earth to the Sun. 

Yet for all its impressiveness, V'Ger proves to be cold and empty inside. Both pieces, with their majestic but mournful tuba solos, do not inspire dread but a very human pity for the creature, hiding in the dark.

Five Movies Featuring the Ride of the Valkyries

The helicopter attack from Apocalypse Now. © 1979 American Zoetrope Studio/Lions Gate Pictures

In the 20th century, the surging strings and triumphant horn calls that open Wagner's Ride of the Valkyries have transcended the operatic stage and the Germanic gods of the Ring Cycle to become standard Hollywood accompaniment to movie scenes featuring Wagnerian amounts of butt-kicking. Let's take a look at movies that use the curtain-raiser as a different kind of dramatic device.