A lot of the times, waltzes are utilized in historical movies to establish a certain period from anytime between the Napoleonic Era and World War I. Other times, waltzes function as source music during formal dances, or brass marching bands. In most cases, these are written in a very traditional Viennese/Straussian mold, and, when these waltzes are included onto soundtrack programs, I skip over them to move onward to the next cue.
Few exceptions exist wherein I'm entranced by a descriptive waltz to listen to it in its entirety.
Richard Rodney Bennett composed fluid and graceful symphonic waltzes in his scores for NICHOLAS AND ALEXANDRA and GORMENGHAST. Jerry Fielding utilized waltz-like material in a very commentative manner in THE NIGHTCOMERS to depict emotional intensity via contrast. Jerry Goldsmith's "Dress Waltz" from his rejected LEGEND score could very well serve as ballet music. Another unexpectedly beautiful one can be heard in GOD'S LITTLE ACRE; Elmer Bernstein proved he is no slouch either by giving us an almost Ravel-like "Peachtree Valley Waltz".
Do you have any similar examples of these types of waltzes from among your favorite scores?
Not the biggest waltz fan either, but Zimmer has done some great ones in his power anthem style. Like GLADIATOR. He certainly get the most power out of the music form as possible. Probably not what you had in mind, though.
Not the biggest waltz fan either, but Zimmer has done some great ones in his power anthem style. Like GLADIATOR. He certainly get the most power out of the music form as possible. Probably not what you had in mind, though.
Any sort of variation on the waltz form would be interesting, so long as it's not performed in the customary manner.
True, though, my thoughts were intially hovering about voluptuous interpretations of waltz rather than stately formal standard types. Not sure that this power anthem style (with synths?) could be considered as impressionistic ...
Not the biggest waltz fan either, but Zimmer has done some great ones in his power anthem style. Like GLADIATOR. He certainly get the most power out of the music form as possible. Probably not what you had in mind, though.
Any sort of variation on the waltz form would be interesting, so long as it's not performed in the customary manner.
True, though, my thoughts were intially hovering about voluptuous interpretations of waltz rather than stately formal standard types. Not sure that this power anthem style (with synths?) could be considered as impressionistic ...
Maybe not 'impressionistic' in the traditional sense. But they seem to use the waltz form only as a BASIS for a meter, and then go completely different directions from there; into prog rock and whatnot.
Maybe not 'impressionistic' in the traditional sense. But they seem to use the waltz form only as a BASIS for a meter, and then go completely different directions from there; into prog rock and whatnot.
Not everything in three has to be a waltz. Hell, I'd say Gladiator is probably closer to a mazurka, but I'd have to listen again to be sure.
Andre Previn's "Waltz of the Fortune Cookies" from THE FORTUNE COOKIE Elmer Bernstein's "Young Doctor's Waltz" from THE YOUNG DOCTORS Bernard Herrmann's "Memory Waltz" from SNOWS OF KILIMANJARO Miklos Rozsa's "Time Machine Waltz" from TIME AFTER TIME
Also, Richard Rodney Bennett's main theme for "Murder on the Orient Express" is waltz-based, and its' most extended version is arguably impressionistic.
Also, Richard Rodney Bennett's main theme for "Murder on the Orient Express" is waltz-based, and its most extended version is arguably impressionistic.
A lot of the times, waltzes are utilized in historical movies to establish a certain period from anytime between the Napoleonic Era and World War I. Other times, waltzes function as source music during formal dances, or brass marching bands. In most cases, these are written in a very traditional Viennese/Straussian mold, and, when these waltzes are included onto soundtrack programs, I skip over them to move onward to the next cue.
Few exceptions exist wherein I'm entranced by a descriptive waltz to listen to it in its entirety.
Do you have any similar examples of these types of waltzes from among your favorite scores?
I'm not sure if you're asking for symphonic waltzes that are in the formal mode, but nonetheless good in themselves, or waltzes that are slightly dissonant and modernistic, that break out of the cliched mode.
In 'The Blue Max' Goldsmith uses a waltz-time piano version of the main theme as his love theme.
Above was mentioned the 'Madame Bovary' waltz, which almost in places suggests Ravel's piece with the 'impressionism' layer stripped. Ravel's notes suggest the listener to 'La Valse' should imagine himself outside the window looking in at the dancers, only able to perceive a general FEEL of the actual waltz, which would, should one enter the hall, probably prove a Romantic conventional one. Rozsa wanted to create that conventional waltz, but still employed modern techniques to suggest mounting hysteria and emotional turmoil.
Other good Rozsa waltzes are the exquisite 'Lydia' waltz which mirrors Lydia's nostalgia and youth, the 'Time Machine' waltz which is mock-Victorian, the 'Valse Crepusculaire' from Resnais' 'Providence', which is fatalistic and elegaic, the 'Tea Dance' waltz from 'Blood on the Sun' (only a period diegetic piece) etc..
In the hands of a good composer the waltz can be very organic to the feel and emotion of the film, and its rhythms, as are the above, not just on-scene colour.
What about Herrmann's 'Momory Waltz' from 'The Snows of Kilimanjaro', Steiner's 'Jezebel' waltz, etc.?
For a 'non-dance' waltz that merely plays as suggestion, try Korngold's 'Flirtation' from 'The Prince and the Pauper'.
Jarre knocks up at least two good waltzes in 'Dr. Zhivago' which are Russian rather than Austrian in style.
Desiree's main title is a waltz which, once started, I have to see through till the end. Though the score is credited to North, it was Alfred Newman who conceived of it. Just being aware of this morsel of info makes it stand out. The main title waltz is wonderfully musical.
Later on the CD, we have the Desiree Waltz which is, in stark contrast, deliberately plod-like, possibly because it has to allow for dialog to stand out. Quite a difference in execution to the wonderful MT. I sometimes wonder if North arranged it that way because it was not from his hand. That's why the Desiree waltz sticks out to me - one waltz is flamboyant, the other a dirge.
A lot of the times, waltzes are utilized in historical movies to establish a certain period from anytime between the Napoleonic Era and World War I. Other times, waltzes function as source music during formal dances, or brass marching bands. In most cases, these are written in a very traditional Viennese/Straussian mold, and, when these waltzes are included onto soundtrack programs, I skip over them to move onward to the next cue.
Few exceptions exist wherein I'm entranced by a descriptive waltz to listen to it in its entirety.
Richard Rodney Bennett composed fluid and graceful symphonic waltzes in his scores for NICHOLAS AND ALEXANDRA and GORMENGHAST. Jerry Fielding utilized waltz-like material in a very commentative manner in THE NIGHTCOMERS to depict emotional intensity via contrast. Jerry Goldsmith's "Dress Waltz" from his rejected LEGEND score could very well serve as ballet music. Another unexpectedly beautiful one can be heard in GOD'S LITTLE ACRE; Elmer Bernstein proved he is no slouch either by giving us an almost Ravel-like "Peachtree Valley Waltz".
Do you have any similar examples of these types of waltzes from among your favorite scores?
Goldsmith's waltz from LEGEND is my favourite cue from this score, which is my favourite Goldsmith score. But one thing: Why everyone refers to this score as "rejected"? It was partly rejected, since it wasn't used in USA. But it WAS used in the International version of the film. (and the director's cut later)
Another waltz that I love is from a masterful Gabriel Yared score for a documentary: Valse Industrie from L'ARCHE ET LES DELUGES
Not impressionistic in style, but the theme from Elmer Bernstein's THE AGE OF INNOCENCE (used as dramatic score and not source music) is a waltz. Masterpiece!
