interesting that Ross’s book cover design mimicks such a specific portion of the 20th century (early), making it look like the content is trapped before WWII.

However, the one distinction that I do think must be acknowledged is between music written to be self contained and music written in support of something outside of itself. The purpose of a film score is to enhance the film. The purpose of a military march is to inspire the troops. Even if adapted to a suite, or played out of context, these were not intended to express the composer’s emotion or world view; it is in composed in service to someone else’s.

More complex would be church music and opera. I know that great religious music can be appreciated and enjoyed by non believers, but I am not sure it can be created by them. Similarly, it would be futile to try to determine whether the score of an opera serves the libretto or vice-versa.

Thanks for a fascinating discussion. It was interesting to hear Alex Ross and Oswaldo Golijov interact with each other as well as with Chris.

I’d like to add Miklos Rozsa to the list of composers for film that did outstanding work. In particular I was reminded of my fruitless search for a recording of Rozsa’s music for “Spellbound” the Hitchcock movie- the “Spellbound Concerto” and whereas I could not find it previously lo and behold a centenary boxed edition of his work, new recording, is out this year.

Let’s not forget Richard Rogers music for the WW2 TV series “Victory at Sea”.

It’s not so unusual that artists in other mediums, some of the greats, worked ( and work) commercially: Somerset Maugham, William Faulkner, Winslow Homer, Edward Hopper come right to mind.

Speaking spellbound, Golijov at Symphony Hall that night was an unforgettable experience. The music really worked on me, had so many associations, a beautiful soup of associations, including the Jewish music I was raised on as well as the flamenco we have been getting deeply into (related to Jewish/gypsy). Yo-Yo Ma’s cello sounded at one point like horses galloping across the steppes of Asia. I look forward to having a recording of this when it happens but this is the first time that I am feeling that it would be hard to capture the full experience. It’ seemed like the hall itself ( the space) and perhaps the audience in it was essential.

In retrospect this all seems to be a reemergence of the phenomenon occurring in the early part of the century. As a rekindled interest in the “roots” of music that inspired both Bartók and Stravinsky planed out into alternate dimensions; there was a later, analysis-laden fatigue that left a great rift between composers and their audiences.

Is this vibrant multi-dimensionalism not a similarly stressful contributor to the peaceful coexistence between listening public and artist? The program laid out a course through music history that has the appearance of a recent merger and acquisition chart. Pity the poor bâtard trying to look up an old chum by naively googling for Ma Bell’s Directory Assistance, but navigating a route through modern music is similarly fraught with, if not peril, then certainly frustration.

OK. But my oh my doesn’t it just seem that Korngold’s family tree runs rampant as the “Theme” on the program strongly suggests John Williams’ “Star Wars” and the “Adagio” is surely sire to Pat Metheny/Lyle Mays “Always and Forever.” Goligov is quoting Bernstein who is quoting Bartók. There’s some fertile ground being plowed.