By Professor John C. Tibbetts
Amadeus . . . Yankee Doodle Dandy . . . Swanee River . . . Rhapsody in Blue. Even ahead of video clips 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 committed fullyyt to such motion pictures, John C. Tibbetts surveys assorted types and sessions from the Hollywood of the Nineteen Twenties and Thirties to the foreign cinema of at the present time, exploring the function 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 procedure? The publication examines the flicks in different contexts and considers their position in commodifying and popularizing song. vast archival learn, dozens of illustrations, and diverse interviews make this an beautiful e-book for movie and tune lovers in any respect levels.
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That sort of thing is probably done best in a novel. Oddly, it might be easier to visualize creative bankruptcy. ’’∞∞ Like the biographical aspects of the subject, the mystery of musical creativity itself has to be contained within the parameters of a mass audience’s experience and understanding. Without such containment, declares UCLA art historian Albert Boime, ‘‘We risk the stereotype of the mad artist—creativity as some kind of disease or psychological aberration. This indicates our underlying fear and anxiety about creativity.
Despite his own financial straits, he opens his house and his pantry to orphaned children and persuades his creditors to assist him in establishing a hospital for foundlings. Invited to come to London to premiere his new Messiah, he insists on employing the services of a ‘‘common’’ actress, Mrs. Cibber (Elizabeth Allan), as a soloist. ’’ asks the astonished Mrs. Cibber. ‘‘An actress believes in God,’’ Handel replies. ’’ As she auditions her role, the lamplighters and shopkeepers outside gather outside the window in hushed reverence.
Confirming the redemptive power of Schubert’s music for generations to come is the addition of a modern framing story, wherein an unnamed young man and woman (Kenneth Ferrill and Ann Stewart), each disappointed in their respective love lives, accidentally meet and fall in love at a Schubert Memorial Concert at Carnegie Hall. As they listen to the music (excerpts from the Rosamunde incidental music, the Eighth Symphony, orchestrations of the song ‘‘Dein ist mein Herz,’’ and a waltz from Opus 33), the scene crosscuts to incidents in the historical narrative.
Composers in the Movies: Studies in Musical Biography by Professor John C. Tibbetts