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July 10, 2009

BSO turns 'Psycho'-tic, performing Bernard Herrmann's vivid score live with Hitchcock's film

The concept of performing live soundtracks to famous movies is one of the more entertaining and insightful ideas to come around in the orchestra business in recent years. For lovers of film scores, it means a rare chance to hear the music in a whole new light, not mixed in, but right out front, played in real time with what is being projected.

It would be easier, of course, to deliver such scores in a regular concert format, but this approach is much more fun. That was the case a couple years ago, when the Baltimore Symphony Orchestra presented The Wizard of Oz, and it's the case this week with Psycho, which boasts one of Bernard Herrmann's most telling and economical scores. (In today's paper, I have an article about the Psycho project.)

Thursday night at Strathmore, the effect wasn't totally overwhelming, as I had hoped. Even with 40 strings on stage, the sound ...

didn't always come across with in-your-ear force. The famous shower scene, for example, with its brutal, high-pitched slashes, could have used a few more volts.

Still, it was great to be able to savor so fully the inegnuity of Herrmann's score, with its almost minimalist writing, and his expert sense of how even just a couple of slowly rocking chords can intensify a scene. The ensemble played with considerable polish throughout, conducted by Constantine Kitsopoulos, whose timing never erred as the wonderfully creepy action unfolded on a screen above the stage -- the prisitine print of the film was another distinct plus. The presentation repeats tonight at the Meyerhoff.

PHOTO COURTESY OF BSO

Posted by Tim Smith at 7:55 AM | | Comments (2)
        

Comments

Speaking of live accompaniment to films, the LA Phil is performing Philip Glass' "Koyaanisqatsi" to a screening of the movie on July 23rd (with the Philip Glass Ensemble and Michael Riesman). Having enjoyed the BSO's performance of Glass' "LIFE: A Journey Through Time" led by Alsop 2 years ago, I think that this would be an _excellent_ idea for them to pursue!

(Too bad no one's orchestrated "Chronos!")

Excellent idea, to be sure. TIM

Having attended the performance last night, I'm nodding in agreement with your take. I wish the decibel level had been ramped up a notch for the thrill of it, but it was fun nonetheless. It was really impressive to see how the ensemble kept perfect time with the action on the screen (and even sneaked a peek at the film between cues!).
Always a treat to read your blog, Tim - keep up the good work!

Thanks awfully. TIM

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About Tim Smith
I was born in Washington, D.C., and grew up there. Initial thoughts of becoming a cocktail pianist faded when I realized I hated taking requests. I decided to study music history instead, and got a B. A. in that field from Eisenhower College in Seneca Falls, New York, and an M.A. from Occidental College in Los Angeles. After free-lance gigs for the Washington Star and the Washington Post, I worked as classical music critic for the South Florida Sun-Sentinel during the 1980s and '90s, a period when I also ventured into radio, contributing to NPR and hosting a weekly show on a West Palm Beach station. Since April 2000, I've been classical music critic at the Baltimore Sun. Over the years, I've written occasional articles for the New York Times, BBC Music Magazine and other publications, and I'm a longtime, regular contributor to Opera News and the U.K. magazine Opera. You may still be able to find on the remainder racks my one and only book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002).
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