Although famed composers ranging from Sergei Prokofiev to Aaron Copland have written music for movies, the classical music world has tended to look down their noses at it.
But that attitude is changing.
The San Francisco Symphony and Brooklyn Philharmonic are now regularly programing such music, and, in September 2004, cellist Yo-Yo Ma released an album devoted to the film works of Ennio Morricone.
Then there’s “The Lord of the Rings Symphony.” In an effort to get his music performed not only on the screen but in concert halls as well, movie composer Howard Shore fashioned his scores for the blockbuster trilogy into a popular six-movement symphony.
Orchestras have typically relegated movie music to their pops series, but Friday evening’s regional premiere of the symphony in Boettcher Concert Hall – the first of three performances – was part of the Colorado Symphony’s classical lineup.
Much of the usual crowd was present. But the concert featuring Shore’s work also attracted different, often younger-than- usual attendees, many of whom have probably rarely if ever been to the symphony’s concerts.
Shore’s three scores obviously did a first-rate job of supporting and enhancing the action on the screen as it happened, but a major question was whether the music could communicate on its own.
And, for the most part, it does. It no doubt helps that guest conductor Markus Huber draws a focused, intense performance from his forces, which include the Colorado Symphony Chorus and Colorado Children’s Chorale.
Shore skillfully evokes a broad spectrum of emotions, handling as effectively the thundering, climactic scenes, when the fate of the world hangs in balance, as the small, intimate moments.
Little about this tonal, largely conventional music is especially innovative, but Shore employs the choirs in unusual ways and draws on several international folk traditions. He incorporates instruments such as the accordion and cimbalom and uses a Celtic-flavored melody for the hobbits’ theme.
At the same time, he manages to artfully incorporate two pop songs, persuasively rendered by soprano Kaitlyn Lusk, offsetting them elsewhere with more conventional classical fare.
As would be expected of a symphony derived from movie scores, the work is episodic in structure. It does not have the architectural unity and flow of a standard concert work, yet it still manages to hang together.
That said, the symphony becomes repetitive at times in the second half.
The concert will be repeated at 2:30 p.m. today.
Fine arts critic Kyle MacMillan can be reached at 303-820-1675 or kmacmillan@denverpost.com.
