Re: [F_minor] Slaughterhouse 5

[promonde@aol.com]

 Isn't it great that this Glenn Gould board has come alive again?


 


 

-----Original Message-----
From: Reinhold, Christiane <christiane.reinhold@bearingpoint.com>
To: Etha Williams <diftorhehsmusma@gmail.com>; f_minor@email.rutgers.edu
Sent: Sun, 22 Jun 2008 9:23 am
Subject: RE: [F_minor] Slaughterhouse 5










Etha and all,
 
It is said that the best thing about the film is the music (reviews at the 
time).  GG was offered the chance to compose a soundtrack from scratch, but he 
declined (was found odd since he always wanted to be known as composer as well, 
but that's a whole different thread).  Nevertheless, as far as I know, he was 
truly in charge of the music; but didn't like the movie per se. I believe to 
recall he said something to the effect that the movie is interesting, but it's 
not something one would get to love. I could dig a little and find you more 
details - htis is just off the top of my head and it's horribly early on Sunday 
morning here in Austin, Texas; the "wheels" are not yet turning!!
 
All the best,
Cheers,
C.
Christiane Reinhold, Ph.D., PMP 
Manager, Public Services 
BearingPoint 
Management & Technology Consultants 
301 Congress Avenue, Suite 1500 
Austin, TX 78701 USA 
T + 1 512 542 5351 
C + 1 512 680 7537 
F + 1 512 382 3386 
www.bearingpoint.com

________________________________

From: f_minor-bounces@email.rutgers.edu on behalf of Etha Williams
Sent: Tue 6/17/2008 2:31 AM
To: f_minor@email.rutgers.edu
Subject: [F_minor] Slaughterhouse 5



I watched Slaughterhouse 5 tonight and thought the use of Bach fragments was
wonderful. What I found most interesting about the soundtrack was that the
film used Bach *fragments -- *even though (or perhaps because) Bach's
compositions are such highly structured things. There is one point, when
they are arriving in Dresden, where the film plays the D Major Concerto
Allegro 3rd mvmnt -- and almost gets to the end, but just before it does,
transitions to the Brandenburg 4 Presto (using a bridge that I think must
have been of Glenn's composing). You never get a full movement -- which is
quite disconcerting with music as structured as Bach's. But it fits with the
general theme of the movie -- a man "unstuck in time," constantly shifting
between different periods of his life, never reaching resolution.

Anyway, I was curious -- does anyone know how much creative input Gould had
in the making of the film? Did he simply provide the excerpts to be used at
the discretion of the film-makers, or did he have an active role in the
creation of the soundtrack for the film? Also, did he ever say (in
interviews, etc) what he thought of the film itself?

I look forward to any thoughts or information you might have --

Etha

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