concierto en Varsovia Richard Addinsell. By Teodor Cardona. 17 songs. Play on Spotify. 1. Warsaw Concerto ()Richard Addinsell, Kenneth Alwyn, Royal.
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The associations which individual members of the audience may have in relation to a certain piece of well-known music are quite beyond the control of the director of a film in which it is used…. He wrote the music for the film Goodbye, Mr. But adsinsell it he does.
After an air raid in Warsaw by the German army, he is discovered by an American reporter, Carol Peters Sally Graypractising the piano in a bombed-out building. Gazing intently at Carol and disclosing “something lovely you’ve just given me”, he introduces the lyrical varsoviaa theme of the Concerto. Views Read Edit View history. The opening of the work is heard when the two protagonists meet, and it is further developed when they are on their honeymoon.
And, indeed, this melody addjnsell always associated with Carol.
The composer, Richard Addinsellwas born in London and initially studied law before turning to a career in music. Similar to the way that Rachmaninoff returns to his second theme in his Second Piano Concerto, the “Carol” melody is used, not only to bind together the emotional strands of the drama, but to bring the Concerto to a triumphant conclusion. The concerto is an example of programme musicrepresenting both the struggle for Warsaw and the romance of the leading characters in the film.
One commentator has suggested that the Warsaw Concerto is the most significant instrumental work written in Britain during the war, still conjuring up a time and place better than any other addinwell.
John Huntley defines the term as a “piece of context film music which was duly recorded and edited into the finished film”.
Within the context of its story, Dangerous Moonlight is also effective in creating the impression of a larger work written and performed by the film’s fictional composer and pianist. In performance it normally lasts just under ten minutes. The Warsaw Concerto is a short work for piano and orchestra by Richard Addinsellwritten for cncierto British film Dangerous Moonlightwhich is about the Polish struggle against the invasion by Nazi Germany. Boydell Press, From Wikipedia, the free encyclopedia.
concierto en Varsovia Richard Addinsell on Spotify
It initiated a trend for similar short piano concertos in the Romantic style, which have been dubbed “tabloid concertos”.
And so with Dangerous Moonlight it was rightly decided to have a piece of music specially written, that could be used to become associated in the mind of the audience with Poland, air raids in Warsaw, and whatever the director wanted to suggest.
Dangerous Moonlight takes place at the start of World War II and tells the story of a Polish concert pianist and composer, Stefan Radecki Anton Walbrook who defends his country by becoming a fighter pilot. In his appearance on Desert Island DiscsGuy Gibsonleader of the Dambusters raid, asked for it as his first choice. The themes are found as underscoring throughout the film, and in this way a brief concert piece gains a dramatic resonance that belies its small scale.
More by Teodor Cardona
Chipsthe original Gaslight released innot to be confused with the later Hollywood versionScroogeand Dangerous Moonlightalso released in the US as Suicide Squadron. His time at the Royal College of Music was brief, as he was soon drawn to musical theatre, and he also wrote for radio, but his most memorable contributions are to a series of film scores beginning in When snatches of the Concerto are first played, one character tells another, “I’ve got the records”, and when the “premiere” is shown, we are provided with a close-up of the program, Warsaw Concertowith three movements listed.
It’s the story of the two of us in Warsaw, of us in America, of us in … where else I don’t know. The off-screen piano part was played by Louis Kentnera fine British musician known for his performances of Franz Lisztbut he had insisted that there be no on-screen credit, for fear that his participation in a popular entertainment would harm his classical reputation.
That’s why I can’t finish it”. Finally, in the only addiinsell concert sequence, we are given the closing section. According to Roy Douglasat that time orchestrator for all of Addinsell’s scores: Stefan speaks of the piece later in the film: But its use is not restricted to scenes with the “composer” at the piano. Only one movement was actually written by Addinsell. Palgrave Macmillan,