24-25 Program Book - Flipbook - Page 38
Psycho: A Narrative for String Orchestra (1960/1968/2000)
CONTINUED
Herrmann’s reconstruction of the music includes not just the dramatic moments
but also the softer, slower-paced scenes—the intensity, however, is unrelenting,
and the tragic plot of the film is never in doubt. The music for the famous shower
scene appears twice, the first time about halfway through the piece and then a
second time associated with the revelation of the actual murderer. The dissonant
and repetitive aspects of the music may be surprising to listeners when detached
from the visual images of the movie, but the music will be especially evocative
for those who have seen the film, underscoring Herrmann’s contention that film
music must be able to stand on its own.
Essay for Strings (1965)
JOHN TOWNER WILLIAMS
(b. February 8, 1932)
John Williams’s musical career has spanned seven decades. Though most famous
for his film scores, Williams has composed numerous classical concert works,
including at least 19 concertos for various instruments and more than 40 largescale orchestral and chamber pieces. One of his earliest, his Essay for Strings has
been widely performed, premiered in in December 1965 by André Previn and the
Houston Symphony Orchestra.
The music starts slowly and quietly. Listeners may be surprised by the dissonance,
but the style is consistent with other composers of the time, such as Barber,
Hindemith, and especially Shostakovich. A second section begins with an
extended unison angular melody. Gradually, the music intensifies with rising lines
and dramatic leaping gestures. The next section is faster, combining the angular
melody with counterpoint, creating gestures of increasing drama and making
the eventual arrivals more poignant. After one final unison phrase, this section
gives way to a fourth section that is quite surprising—the angular counterpoint is
now presented pizzicato, beginning softly and gradually building to faster figures
that only increase the drama and intensity. Faster repeated notes then take the
intensity to a new level. A final slowing of the momentum leads to a final gesture
that punctuates the ending. While Williams’s Essay is still a work of abstract music,
one can sense not only Williams’ studio and film experiences at this point, but also
the dramatic film scores to come.
38 CLASSICAL SERIES PSYCHO
