Welcome back, dear reader! This post is going to be something of a departure from the norm here at For The Love Of Tunes. I used to have a little Music Appreciation group, and during my time heading up that minor venture, I espoused the appreciation of what is broadly known as “classical music” by tracing the roots of movie scores. In the early days of film, Hollywood producers wanted an orchestral score to underpin their movies, and oftentimes the requests made of composers boiled down to mimicking the sound of great composers like Sergei Rachmaninov. This was especially true of pieces such as the “Warsaw Concerto,” which the British Composer Richard Addinsell wrote for the 1941 film Dangerous Moonlight. The short work for piano and orchestra had a distinctly Rachmaninov feel to it, and there were many other composers of the Romantic Period that would go on to inspire many composers who worked primarily in film.
Now you might be wondering, why is he going into all of this? I love orchestral music, and I believe that the music written for the movies will one day be an even more significant part of what orchestras program for their seasons. As with any genre, Classical Music has its purists, and there’s much that can be said about the last four hundred years of musical history. The composers who have put pen to paper and produced enduring works over the centuries will continue to be relevant. Another area of composition has also produced classics of orchestral repertoire. Which one is that you may ask? The answer is simple: the orchestral film score. Composers with names like John Williams, Jerry Goldsmith, Henry Mancini, John Powell, Patrick Doyle, Brian Tyler, Hans Zimmer, Klaus Badelt, Thomas Newman, Randy Newman, David Arnold, Christophe Beck, and Michael Giacchino are just a few names you may recognize. So many others are working in this space that I could have a whole paragraph of just names, and I’d still only be scratching the surface. Now, you might think that music written for movies is somehow less poignant, dynamic, rich, and powerful, but you’d be wrong. Here’s one example:
Composers like John Williams have ushered movie music into the concert hall as just another part of the beautiful tapestry, which is modern orchestral repertoire. When he succeeded Arthur Fiedler as music director of the Boston Pops Orchestra in 1980, Mr. Williams took the opportunity to start programming his own film scores and those of many others so as to make movie music more accessible to the concert-going public. In my opinion, Mr. Williams and Jerry Goldsmith, two prominent figures in the field of orchestral soundtracks, saved us from movie scores made up of popular music and electronic music alone. While there is a place for any number of alternative approaches to movie music, it is often the orchestral score that tugs at our heartstrings the most and leaves an indelible mark on our souls.
The two above selections are prime examples of modern classics. When they are performed live, they’re met with rapturous applause. It’s no different than if the orchestra pulls off a pitch-perfect major symphony. In a symphonic concert setting the general wisdom is to “end with the symphony” so as to get the biggest audience response and to leave those in attendance breathless at what they just witnessed. With things like the score to Star Wars, you might have produced the same effect with every single selection! That’s the power of the movie score! You hear the music and are instantly transported to memories of watching the film for the first time. The nostalgic effect this evokes is powerful, bringing me to this article’s real point. In recent years, film companies and orchestras have partnered to produce concerts featuring a film “live to picture.” This is one way of saying that the film is played on a gigantic screen above a concert hall stage, with the orchestra performing the score to said film in real time. Production companies are taking major films, stripping most of the film’s music from the soundtrack, and handing it off to a live orchestra to perform. A lot goes into this process, and I strongly encourage you to look into how it works. The process is fascinating!
On November 15th and 16th of 2024, the Erie Philharmonic will present Disney’s Frozen in concert. The orchestra will perform the film’s score in real-time with the movie being played on the big screen, and while the soloist vocals will still be part of the soundtrack, the rest will be in the hands of 100+ musicians on the Warner Theater stage. The movie features music by Christophe Beck (orchestral score) and songs by husband/wife duo Robert Lopez and Kristen Anderson-Lopez. It was released over ten years ago in 2013, and it became a hit among audiences very quickly. The song “Let It Go” yielded Lopez and Anderson-Lopez an Academy Award for Best Original Song.
The story of “Frozen” is set in the fictional kingdom of Arendelle and centers on two royal sisters, Elsa and Anna. Elsa, the elder sister, has magical powers that allow her to create and control ice and snow. However, she struggles to manage her abilities and accidentally plunges Arendelle into an eternal winter. To save the kingdom, Anna teams up with a rugged ice harvester named Kristoff, his loyal reindeer Sven, and an endearing snowman named Olaf. Together, they embark on a journey to find Elsa, who has isolated herself in an ice palace she created in the mountains. Along the way, they face numerous challenges and adventures, learning about love, bravery, and the true meaning of sisterhood. Ultimately, the bond between the sisters saves Arendelle and helps Elsa gain control of her powers.
The soundtrack of “Frozen” features several iconic tracks that have become timeless classics. The standout song, “Let It Go,” performed by Idina Menzel (the voice of Elsa), is an anthem of self-empowerment and liberation. Its powerful lyrics and soaring melody resonate with audiences of all ages, making it one of Disney’s most beloved songs. The track won the Academy Award for Best Original Song and continues to be a cultural phenomenon. Another notable track is “Do You Want to Build a Snowman?” This song beautifully captures the innocence and longing of young Anna as she tries to reconnect with her estranged sister, Elsa. The progression of the music through different stages of Anna’s life adds emotional depth to the narrative.
The “Frozen” soundtrack showcases diverse musical styles, from Broadway-inspired ballads to upbeat, folk-infused tunes. This diversity adds richness to the film’s soundscape and makes each song unique and memorable. Songs like “For the First Time in Forever” and “Love Is an Open Door” exude a Broadway charm with lively arrangements and catchy melodies. In contrast, “Reindeer(s) Are Better Than People,” sung by Jonathan Groff (Kristoff), incorporates a folk-inspired sound that complements the film’s Nordic setting.
One of the soundtrack’s greatest strengths is its ability to evoke deep emotions. The songs are carefully crafted to reflect the characters’ inner struggles, desires, and growth. “Let It Go” captures Elsa’s journey of self-acceptance, while “Fixer Upper” introduces humor and warmth through the quirky trolls who try to mend Anna and Kristoff’s relationship. The music also underscores the film’s central themes of love and sisterhood. “For the First Time in Forever (Reprise)” poignantly illustrates the tension and hope between Elsa and Anna as they confront their fears and misunderstandings. The emotional resonance of these songs enhances the audience’s connection to the characters and their journeys.
Kristen Anderson-Lopez and Robert Lopez’s composition for “Frozen” is nothing short of masterful. The duo’s ability to blend lyrical storytelling with compelling melodies is evident in every track. The orchestration, performed by an ensemble of talented musicians, adds a layer of grandeur and sophistication to the music. The soundtrack’s seamless integration with the film’s narrative ensures that the songs feel like an organic extension of the story. Each track is thoughtfully placed to advance the plot and deepen the emotional impact, making the music an indispensable part of the cinematic experience.
The “Frozen” soundtrack is a testament to the power of music in storytelling. Its iconic tracks, musical diversity, emotional resonance, and masterful composition have solidified it as a beloved and influential work in the realm of animated musicals. Whether you’re singing along to “Let It Go” or being moved by the poignant melodies, the music of “Frozen” continues to enchant and inspire audiences worldwide.
What To Expect
So, that’s a little something about the soundtrack to Frozen. Now, you might be wondering what exactly you’ll experience if you attend a concert like the one the Erie Phil has coming up this weekend. I should warn you that once you see a film this way, your movie-watching experience in the theater, anyway, will be altered forever. Bear that in mind. If this is your first time seeing a movie this way, you are in for a real treat! The amazing thing about such a format is that the orchestra almost fades into the background, and then at some point, you remember they are there. It’s glorious to hear beautiful scores, like the one for Frozen, brought to life on stage before your very eyes.
It’s quite the hat trick that these musicians pull off. In most cases, the orchestra is not relying on headphones and a click track. The conductor, Daniel Meyer in the Erie Phil’s case, has a timing screen in front of him, and as the marks crawl across the display, he cues the various members of the orchestra. The whole experience is jaw-dropping to witness. It’s so astounding to see a live orchestra nail mark after mark in perfect time with the film! If you are in the Erie area, I wholeheartedly recommend that you try to make it out to one of the two shows this weekend! I hope to see you there!
https://www.eriephil.org/calendar/frozen-evening
https://www.eriephil.org/calendar/frozen-matinee