This week on The Soundtrack, Haley Taylor explores film scores that sound like they were written centuries ago, but weren’t. From Stelvio Cipriani blurring the line between Baroque music and memory in The Anonymous Venetian, to Georges Delerue’s Mozart-like romance in A Little Romance, Gabriel Yared’s sweeping The English Patient, John Corigliano’s journey through musical history in The Red Violin, and Wojciech Kilar’s dark Romanticism in Bram Stoker’s Dracula, discover how film composers borrow the language of the concert hall to create something entirely new, and sometimes so convincing, it’s hard to tell where classical tradition ends and film music begins.
Join us for The Soundtrack, Saturday afternoons at 4:00 here on Blue Lake Public Radio.
