Film Composers

Resumen:
En este trabajo nos proponemos reflexionar sobre la relación entre música y cine a través del análisis de la trilogía cinematográfica Tres colores (Trois Couleurs) del realizador Krzysztof Kieslowski y del compositor Zbigniew Preisner. Tras su análisis concluimos que, en casos como el que nos ocupa, la fusión y entendimiento entre ambos campos artísticos, preservando su autonomía, alcanza cotas ciertamente relevantes y subyugantes. En todo caso, destacamos que cuando este género musical adquiere entidad per se, puede llegar a producir auténticas obras maestras.


Abstract:
This paper aims to reflect on the relationship between music and cinema through the analysis of the film trilogy Three Colors (Trois Couleurs) by the filmmaker Krzysztof Kieslowski and the composer Zbigniew Preisner. After analysis we conclude that, in cases like the present one, fusion and understanding between the two fields of art, preserving their autonomy, reaches heights certainly relevant and captivating. In any case, we note that when this genre acquired entity per se, can produce masterpieces.

In March 1974, John Williams’ marriage to Barbara Ruick was abruptly cut short by her unexpected death. In response to this tragic event, Williams composed what is arguably his most intense and personal concert work: the Concerto for Violin and Orchestra (1974-1976). In this chapter, I examine the genesis as well as the performance and reception history of the concerto before providing a structural analysis that focuses on the intricate motivic relationships between its three movements. These motivic links coalesce in the last movement, in which Williams presents an ecstatic transfiguration of the concerto’s elegiac opening theme that serves as a culmination of the work as a whole.