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I took Dan's post to mean "among us/film music collectors".
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Underrated is probably the wrong word for people like Scott, Lewis, Holdridge etc. I think the vast majority of those who have heard a good sampling of their work do not underrate them at all.
Underexposed might be a better word.
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Posted: |
Jun 30, 2011 - 10:38 PM
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By: |
ToneRow
(Member)
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I agree a word such as "underexposed" would be more specific and aid communication.
Yet, a definition of "underrated" yields synonyms like "undervalued", "downplayed", "trivialized", etc. (which are words that could very well describe, I think, what may be intended in the original post).
i.e.: a composer whose music possesses values, but those values are underestimated.
Additional context for this could be:
Who's underestimating the composer and his music? Soundtrack collectors and film buffs.
Why is underestimation occurring? Multiple reasons could include 1) representations of composers' film scores on soundtrack albums which are scarce, or even non-existent, & 2) scores from films which are not in the English language, or greater than 35 years old, or monochrome, or not from popular genre categories (sci-fi, fantasy, horror, etc.), and/or 3) highly idiosyncratic musical styles, such as those by a Dimitri Tiomkin or a Maurice Jarre, which divide the fan bases into subsets of either you love 'em or hate 'em.
My offerings for the above categories of neglect are:
1) William Alwyn: At the time of his retirement from the industry around 1963, Alwyn had scored about 88 films. Only 1 of which was issued onto a soundtrack album (1959's SHAKE HANDS WITH THE DEVIL on United Artists vinyl LP). If it were not for an excellent series of CD compilations by Chandos of re-recorded suites of Alwyn film scores, the Alwyn discography might have continued to equal 1.
[an example of virtually non-existent album representation would belong to film music by Wilfred Josephs]
2) Zdenek Liska: Here's a man who has scored more than 120 films. The problem here is (and it's not really a problem, per se, but an indication of the majority mindset) that Liska scored Czech films which are, obviously, not Hollywood productions and not in English. Amazingly, 2 of Liska's scores surfaced onto American soundtrack LPs during the 1960s. Don't expect either THE SHOP ON MAIN STREET or ADRIFT to get re-issued onto CDs in any restored or expanded fashion!
3) Antoine Duhamel: For over 40 years, Duhamel has been scoring French films and has worked twice for Jean-Luc Godard, thrice for Francois Truffaut, and as a regular collaborator with Bertrand Tavernier and Fernando Trueba. Duhamel is an acquired taste, though. His musical textures can be quite dense, and his music's raison d'etre moves along on its own inexorable path with Herrmannesque steadfastness and neo-classical self-containment. If one dislikes Leonard Rosenman's singular stylistic characteristics, one would probably not be receptive towards Duhamel's unique harmonic idiom. I like Duhamel's scores, but I feel more people would dislike them...thus, Duhamel is underrated...
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Posted: |
Jun 30, 2011 - 11:38 PM
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By: |
dan the man
(Member)
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TO TONE ROW- tHANK YOU VERY MUCH, YOU SUM UP EXACTLY MY POINT, ABOUT SO MUCH GREAT MUSIC THAT IS NEGLECTED BY GREAT COMPOSERS, YOU GAVE 3 EXAMPLES WHICH CAME TO ABOUT , WHAT 250 OR MORE FILMS AND YOU CAN COUNT ON YOUR FINGERS THE AMOUNT RELEASE, NOW THERE ARE HUNDREDS, THOUSANDS OF EXAMPLES OF COMPOSERS WHICH WILL COME TO------ WELL WE KNOW HOW MANY FEATURE LENGHT FILMS HAVE BEEN MADE SINCE 1930, SO IMAGINE THE GREAT MUSIC NEGLECTED WHICH CAN THEREFORE CAUSE MANY PEOPLE TO UNDERATE A COMPOSER, BECAUSE HOW CAN YOU SAY SOMEONE IS GREAT IF YOU DON'T HERE ENOUGH OF THEIR MUSIC BUT YOU WOULD SAY HE OR SHE IS GREAT IF YOU HEARD MORE OF THEIR MUSIC, THANKS AGAIN FOR THAT EXAMPLE, I MEAN YOU COULD HAVE A RADIO STATION JUST WITH MORRICONE AND DELURUE[S OUTPUT, I MEAN BETWEEN JUST THOSE 2 YOU HAVE, WHAT OVER 500 FILMS, THINK OF ALL THAT MUSIC, BUT MORE IMPORTANT CONSTANT FINE MUSIC.
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I MEAN YOU COULD HAVE A RADIO STATION JUST WITH MORRICONE AND DELURUE[S OUTPUT, I MEAN BETWEEN JUST THOSE 2 YOU HAVE, WHAT OVER 500 FILMS, .
Did Delerue only score 14 films then????
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Posted: |
Jul 1, 2011 - 3:31 AM
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By: |
Thor
(Member)
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TO TONE ROW- tHANK YOU VERY MUCH, YOU SUM UP EXACTLY MY POINT, ABOUT SO MUCH GREAT MUSIC THAT IS NEGLECTED BY GREAT COMPOSERS, YOU GAVE 3 EXAMPLES WHICH CAME TO ABOUT , WHAT 250 OR MORE FILMS AND YOU CAN COUNT ON YOUR FINGERS THE AMOUNT RELEASE, NOW THERE ARE HUNDREDS, THOUSANDS OF EXAMPLES OF COMPOSERS WHICH WILL COME TO------ WELL WE KNOW HOW MANY FEATURE LENGHT FILMS HAVE BEEN MADE SINCE 1930, SO IMAGINE THE GREAT MUSIC NEGLECTED WHICH CAN THEREFORE CAUSE MANY PEOPLE TO UNDERATE A COMPOSER, BECAUSE HOW CAN YOU SAY SOMEONE IS GREAT IF YOU DON'T HERE ENOUGH OF THEIR MUSIC BUT YOU WOULD SAY HE OR SHE IS GREAT IF YOU HEARD MORE OF THEIR MUSIC, THANKS AGAIN FOR THAT EXAMPLE, I MEAN YOU COULD HAVE A RADIO STATION JUST WITH MORRICONE AND DELURUE[S OUTPUT, I MEAN BETWEEN JUST THOSE 2 YOU HAVE, WHAT OVER 500 FILMS, THINK OF ALL THAT MUSIC, BUT MORE IMPORTANT CONSTANT FINE MUSIC.
WHAT?!?! I COULDN'T QUITE HEAR WHAT YOU SAID THERE?
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TO BILL CARSON-i PRESUME YOU ARE SAYING MORRICONE[THE GREAT] HAS SCORED ALMOST 500 FILMS, AMAZING, I DIDN'T REALIZE IT WAS THAT HIGH, DELURUE CAME IN AT OVER 250 OR SO , WELL IT MAKES MY POINT EVEN MORE POTENT.
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To Thor-My friend, i love your sense of humor,WHAT I MEAN IS THE WHOLE ART FORM KNOWN AS FILM SCORING IS UNDERATED AND UNDEREXPOSED.
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