On Wednesday night, the Los Angeles Philharmonic and the Motion Picture Academy joined forces to present an evening-long celebration of film music, highlighting this year’s five Oscar-nominated film scores. But that was only the second half of the concert (featuring conductors John Williams, Alexandre Desplat, Carter Burwell and Thomas Wilkins). The first half took a fascinating look at various literary ideas (love, fear, courage, the chase, etc.) and how composers have musicalized those ideas over the years. Here is an overview of the concert; I was privileged to write the program notes for the evening.
It was a whirlwind four days, beginning with the first-ever Oscar concert at Royce Hall, then a really fun Oscar music reception (sponsored by the Society of Composers & Lyricists) and finally the Academy Awards themselves on Sunday. A roundup, with lots of colorful photos, is here.
The Academy’s musical choices were all fine in its first staged concert of Academy Award-nominated music. The problems were the host and the interviewer, neither of whom came off well. My editors chose to leave out my recitation of the more ludicrous moments. This is what didn’t make it into the Variety story:
Film critic Elvis Mitchell, enlisted to interview the composers between segments, was hit-and-miss, getting one of the Arcade Fire composers’ names wrong (“William Phillips”? It’s William Butler) and drawing head-scratching and irrelevant parallels with his favorite Western scores (Ennio Morricone for Gravity, Williams’ obscure The Missouri Breaks for The Book Thief, which could not be farther afield from one another).