British Kinematography (1950)

May, 1950 . 145 MUSICAL TREATMENT OF FILMS Read to a joint meeting of the British Kinematograph Society and the British Film Academy on 4th January, 1950 I. COMPOSITION Ernest Irving* SOME time ago Dr. Hubert Clifford gave a very interesting paper upon the technique of fitting music to pictures.1 The subject of this evening's papers is the more intimate and spiritual relations that exist between musicians in contact with producers, directors and editors. Mr. Mathieson and I start with some principles in common. What is called " background music " must be regarded as ancillary in its function, and must be at all times subordinate to the needs of the action of the film. It is unlikely that this will allow normal symphonic development, which demands a logical relationship between its parts, since most films are episodic and fly wildly from Pimlico to Paris, and from Kind Hearts to Coronets. But there are two underlying principles which Mr. Mathieson has practised over many years, and in which I have faithfully followed and supported him. The first is that, other things being equal, one might as well have the most accomplished musician to write the score, as when it has come through the batterings of direction and editing, there will always be some musical content left which will give class and style to the picture, even if its effect is confined to the subconsciousness of the listener. Secondly, we feel that a British composer is as good as a foreigner for a British film. Development of Film Music Before I became a neophyte in the film world, knowing practically nothing whatever about it except the recording side, I had practised for thirty years or so in the theatres, writing incidental music for all kinds of plays from Shakespeare down to " The Circle of Chalk," and was lucky enough, with Mr. William J. Wilson and afterwards with Mr. Basil Dean, to gain experience in the making of sound films without committing any major blunders. In those days the cost of the film was about one-tenth of the present average, and the music was on a small scale, and played by a small orchestra. When Sir Michael Balcon came to Ealing Studios, music was released from the financial strait-jacket which had so far cramped its style. William Walton came in to write the score for " Next of Kin," and showed an adaptability and dramatic sense remarkable in a composer of such originality. Up to this time I had written most of the incidental music myself, but was now able to suggest the employment of composers who had made their reputation on the concert platform, and to give them adequate orchestras to perform their work. We had another score from Walton, followed by one from Dr. Gordon Jacob, three from Lord Berners, two from Frederic Austin, two from Alan Rawsthorne, one magnificent epic u The Overlanders " from John Ireland, and finally " Joanna Godden " and " Scott of the Antarctic " from that grand old man of British music, Dr. Vaughan Williams. Interspersed with these famous masters of concert music came John Greenwood with four fine dramatic scores, Richard Addinsell, Clifton Parker, Norman Demuth and Leslie Bridgewater ; while the foreign element was supplied by five genre pieces by Georges Auric. All these scores were settings for full orchestra, and Ealing has employed the London Philharmonic Orchestra, and later the Philharmonia, with most gratifying results. * Ealing Studios, Ltd.