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Since the score of a Broadway or film musical is what actually makes the work a musical, it is far more essential to the work than mere incidental music, which nearly always amounts to little more than a background score; indeed, many plays have no incidental music whatsoever. Some early examples of what were later called incidental music are ...
music by Camille Saint-Saëns, Op. 128; this was music for a film, not a staged play as such, and is generally considered one of the world's first film scores; As You Like It (William Shakespeare, c. 1600) 1922 music by Roger Quilter; 1931 music by Ernst Toch; music by Johan Halvorsen (Livet i skogen, Op. 33; died 1935) 1938 music by Ildebrando ...
Some photoplay music was used as incidental music in early sound films as well. Most theaters, however, threw out entire libraries of music. Publishers junked overstock or used it as scrap paper. In recent years, photoplay music has been revitalized through home videos and live performances of silent films.
The origins of film music are disputed, although they are generally considered to have aesthetic roots in various media forms associated with nineteenth-century Romanticism. [30] According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector ...
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Pride & Prejudice (Music from the Motion Picture) is the soundtrack to the 2005 film of the same name and was composed by Dario Marianelli and performed by Jean-Yves Thibaudet (piano) and the English Chamber Orchestra. The movie Pride & Prejudice is a screen adaptation of the 1813 novel Pride and Prejudice by Jane Austen. [1]
Henry V was the tenth film for which Walton composed incidental music. He had begun in 1935 with a score for Paul Czinner's Escape Me Never, and his later cinema scores included his first Shakespeare film, As You Like It (1936) which starred Laurence Olivier. [1]
Mendelssohn wrote the incidental music, Op. 61, for A Midsummer Night's Dream in 1842, 16 years after he wrote the overture. It was written to a commission from King Frederick William IV of Prussia. Mendelssohn was by then the music director of the King's Academy of the Arts and of the Leipzig Gewandhaus Orchestra. [8]