I'm thinking of people like Johann Pachelbel (Canon), Henry Litolff (Scherzo from Concerto Symphonique No 4), Otto Nicholai ( Merry Wives of Windsor Overture) and I can't even remember the name of the chap who wrote The Entry of the Gladiators. I know that Litolff wrote 4 more concertos symphonique and Nicholai's 1st symphony was runner up to Lachner's 5th in the 1834 competition held by the Vienna Friends of Music, but what happened to the rest of these composers' repertoire? Surely they must have written something else worth hearing. Maybe someone can add more names to the above list or suggest sources of scores or recordings from their largely unsung musical output.
Quote from: John H White on Monday 28 October 2013, 17:22
I can't even remember the name of the chap who wrote The Entry of the Gladiators.
It's by Julius Fučík (1872-1916). Who?
I love Fucik's music. He wrote a lot of great light music -- and he's certainly well known /enough/ for the Florentine March, and possibly Children of the Regiment (which I've even heard used in a video game) as far as being performed and recorded goes.
The problem with this topic is "one work that's well known by the public" (Pachelbel and Fucik) vs "one well known by the typical classical lover (Nicolai, Enescu, Alfven). It's a wierd topic and I've seen it come up elsewhere (usually as 'one hit wonder') and much argument was had about what that even MEANS. Obviously Pachelbel fits, but it's really hard to find anyone else who does until you dig a bit more into 'major classical lover' (which is where one would put Litolf and Nicolai).
Re Nicolai: besides his opera the Merry Wives of Windsor (his best-known work), his 2nd symphony (his 1st, which you mention, has disappeared, I think) and 4 overtures have been recorded as has a 2nd volume of orchestral works, but I can't pretend that his music has flooded the repertoire, no. As to Franz Lachner, you're more familiar with his music than I am, since you sequenced his 6th symphony (though I could point out some improvements that would make it sound less like Milhaud. Well, to be fair, it sounds bimodal, not bitonal. Otherwise wonderful stuff, though, and recommendable... those issues haven't stopped me from listening to that recording a whole lot and wishing, too, that the work were played and recorded quite a bit...)
Many thanks, Alan and TerraEpon, for filling me in on Fucik. Maybe Eric it was Nicholai's 2nd symphony that came 2nd in that symphony contest. I'm glad you like Lachner's 6th symphony even though I was rather disappointed with it after the boost it had been given by Robert Schumann in his capacity as a music critic. I'm afraid I don't really understand what you mean by bimodal and bitonal. I just copied the notes down from the printed score into Sibelius software. What you hear is an interpretation by "Sibelius Sounds". Maybe a different set of sound fonts, such as Garritan Personal Orchestra, would produce a more authentic sounding performance.
it may just be me. there seem to be some sections where there are very dissonant clashes in transitional contrapuntal sections in the exposition where one line insists on major mode while another line insists on minor (hence, semitonal clashes that are either very forward-looking, or errors in the score or parts... or as you say, a problem with my setup! Rather consistent in the exposition, the repeat, and in the recapitulation (of the first movement).)
What about Dukas? The general public knows only The Sorcere's Apprentice, and that with help from Fantasia.
Movies are responsible for a few of these, I'm guessing... (a very incomplete list (I mean, Borodin but no "Kismet"?) here (http://www.allegro-c.de/formate/cmm.htm) still mentions many I didn't know of, not surprisingly, e.g. some de Bériot in Eternal Sunshine of the Spotless Mind (then again, haven't seen the movie...) (and the "Gade" in that list is Axel, composer of the Tango Jalousie- not his father Niels. There's a one-hit wonder on a small scale for you, I suppose- if Axel Gade is known for anything, it's that tango (recorded and arranged a number of times, though more 100 years ago than now...), though a couple of other things, e.g. a concerto, have been recorded and I know I've put in a wishlist request for a ms. quintet of his... :) )
Axel Gade?
Jalousie was written by Jacob Gade, who last I checked was unrelated to Niels
https://en.wikipedia.org/wiki/Jacob_Gade
He would fit though, the melody still shows up now and again as source music in films and ice skating programs, etc
Julius Fucik enjoys not a small discography and had among his best advocates Vaclav Neumann and Vaclav Smetacek.
Recommendable and accessible the Apex-Warner 0927-48752-2 (Neumann and Czech Phil).
Quote from: Hilleries on Tuesday 29 October 2013, 05:03
What about Dukas? The general public knows only The Sorcere's Apprentice, and that with help from Fantasia.
I think the Symphony in C, while certainly semi-sung, is well-known enough to keep Dukas from being a one-hit wonder.
Another suggestion: Wilhelm Peterson-Berger. The
Summer's Song from his
Frösoblomster-suite is about the only thing regularly heard. And you
have heard it, even if you don't know about it.
Quote from: Ilja on Tuesday 29 October 2013, 10:24
Another suggestion: Wilhelm Peterson-Berger. The Summer's Song from his Frösoblomster-suite is about the only thing regularly heard. And you have heard it, even if you don't know about it.
May I perhaps add D'Indy 's SYmphonie "cévenole" op 25
~kvizy~
Dukas symphony familiar? Where? Not in my part of the world. I hang out with a lot of musicians and none of them know it. That's the problem: we on this site are so familiar with the forgotten corners of the musical realm that we forget what it was like to be a novice or an "average" music listener. To those people, Sorcerer's Apprentice is the only thing Dukas wrote.
I would suggest these one-hit-wonders as being typical of the average listener:
Enescu: Romanian Rhapsody #1. Even musicians are shocked to learn how much other music he wrote.
Grofe: Grand Canyon Suite
Elgar: Pomp & Circumstance #1.
Franck: Symphony in d, but nowadays most people never hear this at all.
Widor: Toccata from 5th Organ Symphony
Glazunov: The Seasons ballet
Handel: Messiah
Hanson: Symphony #2
Bloch: Schelomo
Balakirev: Islamey
Kabalevsky: overture to Colas Bruegnon
Handel- the Hallelujah chorus, not all of Messiah.
(How about Jean-Joseph Mouret- Rondo from Suite No.1 -- used as theme music to a program called "Masterpiece Theatre" in the US? What else would almost anyone, including many classical music fans, know by him?)
Kabalevsky- hrm. I think a few other works are played - the "Galop" from his Comedians Suite, e.g., in movies- even if again name recognition is not attached.
(A quick look at least at IMDB suggests that Franck's violin sonata and other works at least are heard, though again not with credit, on a fair number of recognizable movies too. Hrm. As to Elgar, tend to agree, though there was "An Education" - an enjoyable movie with a very odd Elgar-related musical episode (or should I say, Elgar/Payne related musical solecism.))
Quote from: mbhaub on Tuesday 29 October 2013, 14:44
Dukas symphony familiar? Where? Not in my part of the world. I hang out with a lot of musicians and none of them know it. That's the problem: we on this site are so familiar with the forgotten corners of the musical realm that we forget what it was like to be a novice or an "average" music listener. To those people, Sorcerer's Apprentice is the only thing Dukas wrote.
I would suggest these one-hit-wonders as being typical of the average listener:
Enescu: Romanian Rhapsody #1. Even musicians are shocked to learn how much other music he wrote.
Grofe: Grand Canyon Suite
Elgar: Pomp & Circumstance #1.
Franck: Symphony in d, but nowadays most people never hear this at all.
Widor: Toccata from 5th Organ Symphony
Glazunov: The Seasons ballet
Handel: Messiah
Hanson: Symphony #2
Bloch: Schelomo
Balakirev: Islamey
Kabalevsky: overture to Colas Bruegnon
What you said is so true, and unfortunate. I came across people who had no idea that Tchaikovsky wrote operas. I agree with your list, although Glazunov's Violin Concerto is perhaps more of a one-hit wonder than "The Seasons" (a mystery to me, for this composer wrote many fine scores, some of them great). I would also add Khachaturian's Sabre Dance from "Gayane" (or "Gayaneh") whose popularity annoyed the composer like no other (personally, I find the ballet to be very fine and Lezghinka more interesting).
Franck: most listeners would know the Violin Sonata ahead of the Symphony these days.
Elgar: Nimrod from the Enigma Variations is just as well known.
Handel (outside our remit): Water Music - just as well known as The Messiah
Now, let's return to unsung music from the romantic era in this thread, please...
Jaromír Weinberger - Švanda Dudák (Polka & Fugue).
Quote from: mbhaub on Tuesday 29 October 2013, 14:44
Dukas symphony familiar? Where? Not in my part of the world. I hang out with a lot of musicians and none of them know it. That's the problem: we on this site are so familiar with the forgotten corners of the musical realm that we forget what it was like to be a novice or an "average" music listener. To those people, Sorcerer's Apprentice is the only thing Dukas wrote.
Maybe it's utterly unknown in the English-speaking world, but in the last fifteen years I've heard it in concert twice in France and once in Holland and Germany. That counts for something. Also, Amazon lists 15 recordings: not very many, but far from non-existent.
I'd say Dukas' Symphony was only known from recordings really. Classic FM's a good guide - and there you'll only hear The Sorcerer's Apprentice.
Re Dukas: putting the symphony aside, his Villanelle for horn and piano (or orchestra) and Fanfare from La Péri have been heard in concert, on recording and on radio stations (ok, better radio stations, and depending on country) - he's not quite a one-work composer. (Concerts this year including works by Dukas include La Péri (in full), La Péri (fanfare), variations for piano on a theme of Rameau, Sorcerer's Apprentice (most of them), Villanelle for horn and piano.)
And in all due fairness to Classic FM, radio station playlists are not polls, etc. ... :) (and probably most to the point, to the extent that they are, they're polls only of their audience, not of a larger group- their listeners, not similar people in other countries, perhaps.)
I think that Hollywood chooses many of our most popular themes for their films. Rachmaninoff, Tchaikovsky, Chopin, and Lizst lead the way.
Tom :)
Quote from: eschiss1 on Wednesday 30 October 2013, 13:25
And in all due fairness to Classic FM, radio station playlists are not polls
Actually, they are. Classic FM is not only listener-driven in its choice of music played - it also has a top 300 (I think) voted by those listeners.
I stand corrected.
Carl Orff's claim to fame as a composer seems limited to Carmina Burana here in the U.S.
Jean-Joseph Mouret's Fanfare-Rondeau from his first Suite de Symphonies ranks right up there with Pachebel's Canon. Immediately recognizable, but but most people have no clue who wrote it.
There's a name that I doubt anyone would even think about, but I think it fits, very well.
Vladimir Vavilov. You won't even find his name as the composer of anything popular, but he did, in fact, write a piece that IS: The Ave Maria "by Guilio Caccini"
That piece is a musical hoax, but even more odd is that Vavilov just said that 'Anonymous' wrote it, and it was his student that gave the Caccini attribution.
Erm, semi-infamous-sort-of (and non-existent- well, ok, according to Wikipedia, the person existed, but is not known to have composed) for one work only? Mykola Ovsianiko-Kulikovsky, non-existent composer to whom was attributed... (well, see Wikipedia (https://en.wikipedia.org/wiki/Mykola_Ovsianiko-Kulikovsky).
... never mind :) )
How interesting (and appalling in places), Eric.
The Dukas Symphony shall be performed in the current season in Lyon (I must admit it is very, very seldom performed even in France, while several recordings exist).
I attended a performance of La Peri and one of the Piano sonata.
The odd performance here and there doesn't make a work famous, though...
No argument there, Mark, no argument at all. (I am just glad my Russian great-(great-?)grand-parents had already emigrated (to NYC, I think) (I don't actually know where in Russia they lived or whether they ever personally ran into a pogrom, but...), likewise the rest of my family from other countries, late the 19th century. So very much more than glad, I cannot say, but only because I cannot find the words.)
I was interested to see Gleb Taranov show up in that article, I think I shall create a Wiki-article for him now I know he did more than just write a couple of interesting pieces (like that 6th symphony, some other things too that I haven't heard).
Erm. Sorry.
zzzoooooh. Grofé's been mentioned- on some radio stations one occasionally hears other works of his, but yes, his face to almost anyone who's heard anything at all by him would be the Grand Canyon Suite.
Re Glazunov: are excerpts from his Seasons ballet (admittedly, one of the few ballet works I personally find to be "not too long for its content" even at full-length rather than suite and even without the dance visuals, just sound...) the one and only work that a casual, non-fan is likely to have heard? Interesting. (Not doubting, I didn't know this one way or the other. I see that portions of Les ruses d'amour get regular airplay, but on classical radio stations that of course mostly classical fans are likely to tune into- intentionally, anyway. Of course, so do his symphonies also etc., his saxophone quartet, his concertos for violin and saxophone (especially), etc., but on a Glazunov google search through radiowavetuner.com (fwiw- just a radio schedule "crawl" site I like and recommend, at least when it's up!...) one does see ruses d'amour a certain amount (and "The Ruses of Love", too. Especially in July 2013 and somewhat in September, for some reason- maybe an artifact of the search... )
Quote from: Alan Howe on Thursday 31 October 2013, 10:59
The odd performance here and there doesn't make a work famous, though...
Granted, but I the discussion was about Dukas being a one-hit-wonder or not. He may be in the anglophone world, but much less so in France and certainly to a lesser degree than, say, Litolff.
Really? I'll take your word for it...
Actually, a quick google search ( that focused on English language results only) revealed several performances of Dukas's Symphony in C over just the past two or three concert seasons and an upcoming one in Seattle on March 30th 2014... I didn't search for European outside the UK or Asian-Pacific concerts, so I imagine there have been more, so I am inclined to think we all (not just you Alan!) might be correct to take Ilja's word for it: it might not crop up as frequently as Tchaikovsky 4 or Mozart's Jupiter but it is apparently performed regularly though infrequently.
What did even more (!) give the lie to the fact that Dukas is a one-work-wonder was the surprising frequency of performances of the Fanfare-prelude to La Peri, almost as many as the Sorcerer's Apprentice, I was surprised to see. I guess we all need to be careful about making assumptions, in face of other people's actual experiences especially when "assumptions" are partly what has relegated all these composers we love to unsung status over the years!! ;) :D
One could easily build a case for Gliere's Symphony No. 3.
Tom :)
I think Glière's rather better known for his Red Poppy suite (the Russian Sailors' Dance specifically, iirc) than for Ilya Murometz any day of the week, sorry!
khorovod- I gather much the same thing (though without the symphony) from the incomplete, performer-and-conductor-submitted information that shows up on Bachtrack, re Dukas.
If the topic were "overwhelmingly well-known" to many people that would probably produce some interesting results (given the sheer number of people who only know Beethoven from little bits of his 5th symphony- not even his 9th or Für Elise) but as often it depends on the question asked...
I had forgot to point out the relatively frequent revival of Dukas opera Ariane et Barbe Bleu. Several performances of different productions in recent years (even one in my city, where I saw two performances); several recordings : Deneve (on DVD); de Billy; Botstein; Gary Bertini (maybe an elderly radio performances); the belated Cd transfer of the A.Jordan; the very mediocre-and cut- Aubin on the Label Gala. Not yet a repertoire opera, but not an unsung one.
Quote from: eschiss1 on Thursday 31 October 2013, 21:06
I think Glière's rather better known for his Red Poppy suite (the Russian Sailors' Dance specifically, iirc) than for Ilya Murometz any day of the week, sorry!
Hard to know, of course, but I suspect this is true, at least outside of the Russia/ex-Soviet bloc.
Most music lovers only know Dohnányi for the
Variations on a Nursery Song, and maybe Wolf-Ferrari for
Jewels of the Madonna - in both cases a travesty of justice. :)
Still, too, re Gliere, his duets and horn concerto (and maybe coloratura concerto), I think, may perhaps be just popular enough with teachers that many parents upwind from their children rehearsing may have heard something of his besides the suite. Don't know. At least enough to dispel "one-work" status, as not all those parents are themselves classical fanatics... Oki, I'm stretching- mostly. (Actually, that may be an underestimated "recruiting" method. I know that listening to my sister practice instruments in the living room of the house years ago taught me some interesting music even then, including a fine still underplayed Morçeau by Saint-Saëns...)
If you're going to go with pedagogical music, then Kabalevsky is easily well known. Many of his tiny miniatures are among the first non-simplified pieces people will learn.
Also yes, Dohnanyi definetly fits. And speaking of "Wolf", Hugo Wolf for the Italian Serenade, maybe?
I second the mention of Dukas' Ariane et Barbe-bleu: a very substantial work, both musically and dramatically.
Nicolai is more definitely a one-work composer. I've bought the CDs of his Ivanhoe opera Il Templario. I enjoy listening to it, but don't remember a single phrase. The same goes for Flotow's Alessandro Stradella and Ponchielli's I Promessi Sposi: admirable works both, but much overshadowed by Martha and La Gioconda. I think I've heard Leoncavallo's La Boheme and Zandonai's Giulietta e Romeo , but wouldn't swear to it. They, too, are essentially one-opera composers. I particularly love Zandonai's Francesca da Rimini, and was very glad that the Met revived it last season.
Leoncavallo, however, wrote the song 'Mattinata' which is really almost as popular as Pagliacci, reletively speaking.
Hrm. Is the "Italian Serenade" even well enough known to qualify? (Other works of his are being performed both on the radio in the next week and in the concert hall in this season-including his string quartet in D minor, in February in Belgium- but yes, I know that's not to-topic... still, I would have thought of Wolf as a 0-work composer so far as the general public was concerned.)
While reading this topic a crazy question came upon me: who composed only one work?
Quote from: Paul Barasi on Monday 04 November 2013, 14:13
While reading this topic a crazy question came upon me: who composed only one work?
How about Clairs de lune by Abel Decaux (1869-1943)?
Quote from: Paul Barasi on Monday 04 November 2013, 14:13
While reading this topic a crazy question came upon me: who composed only one work?
... and here another proposal:
Yefim Golyshev - according to several resources (including Wikipedia) there is only one
surviving composition, his string trio.
(Well, he is known to have composed several other works ...)
Wikipedia describes that as the only work Decaux ever published. This suggests perhaps there are others in mss or that he mentioned having written at some other point? I seem to recall possibly (???) that there was someone I read about who in the middle of a long career in other fields (mapmaking etc.??) tried their hand at composition once or a few times too, but only finished one work, but am not sure- will see if I can remember...
(Hrm. I thought for a moment maybe Władysław Pachulski, but again at least according to Wikipedia-en, he is thought to have composed a few works- just none of it is known to have survived in any form.)
also: "Also, the statement that Decaux only composed Clairs de lune isn't entirely accurate, as somebody found a small organ fugue in a pedagogical collection, but it doesn't really count for our purposes."- from a blog post, but still, if true, removes Decaux from this tangent...
Charles S. Belsterling, who wrote the March of the Steel Men
Other sole works composers are famous (or known for) to the average listener:
-Franz Lehar's "The Merry Widow" comes to mind (although he composed a number of very fine operettas).
-I think eschiss1 is right about Gliere; The "Russian Sailor" dance from the Red Poppy ballet is something the average listener would more readily identify as Gliere's work than any other of his oeuvres. It's nice to see, however, that his Third Symphony is becoming more of a familiar piece, with a new recording that's about to be released (featuring Maestro Falletta and the Buffalo Philharmonic under Naxos).
-Mosolov's "The Iron Foundry" also springs to mind (not romantic by any stretch, but I had to put it out there).
-Myaskovsky's Cello Concerto (which sort of replaced the 21st Symphony as the sole work the composer is famous (or known) for). That may be up for a debate though.
-Kalinnikov's First Symphony.
-Arensky's Variations on a Theme of Tchaikovsky
-Glinka's overture for "Ruslan & Ludmila" (not the opera per se mind you).
-Anton Rubinstein's Melody in F (from his Deux Mélodies Op. 3)
-Bax's "Tintagel" (from what I can see - still).
-Rachmaninoff's 2nd Piano Concerto (arguably, it's way overplayed compared to his other works).
-Stenhammar's Serenade (maybe)
-Stanford's Symphony no. III "Irish" (arguably)
-George Enescu's Romanian Rhapsody no. I
-Barber's Violin Concerto
-Hanson's Symphony no. II "Romantic"
-Massenet's Thais (meditation)
Stanford- hrm. first thing that came to mind for me - and I haven't even heard it, I think (well, maybe not in awhile)- is "The Bluebird".
Barber- I'd put "Adagio for Strings" (arranged from his string quartet) as the "sole work" he's known for (at least in the US, where it's used in movies, funerals, etc.) - or else he's known for at least two even to the average listener (or more) and doesn't belong in this category/thread :)
Hrm. As to Arensky, I wonder if his 1st piano trio is getting to be anywhere near as well-known as the variations as you say (again, from one of -his- string quartets...), or maybe some of his piano pieces or suites- maybe not. Ok.
Tend to agree about Myaskovsky though both that and the 2nd cello sonata (maybe the 3rd piano sonata, too) appear in about a dozen or so CD recordings (mostly reissues, and not, however, counting repackagings of the same recording) each...
You have a point re. Barber.
I myself never heard (or heard of) Stanford's "Bluebeard."
Sorry, I spelled it wrong. Ok, I edited it above. It's "The Blue Bird", no.3 of his set Op.119 (8 part-songs for mixed-choir or for soprano, alto, tenor, bass).
Quote from: Dave on Tuesday 05 November 2013, 11:27
Other sole works composers are famous (or known for) to the average listener:
-Franz Lehar's "The Merry Widow" comes to mind (although he composed a number of very fine operettas). . . .
-Glinka's overture for "Ruslan & Ludmila" (not the opera per se mind you). . . .
-Rachmaninoff's 2nd Piano Concerto (arguably, it's way overplayed compared to his other works). . . .
-Massenet's Thais (meditation)
'Dein ist mein ganzes Herz' is surely at least as famous as any other Lehar composition. (Ditto the 'Gold and Silver Waltz'?)
Given that
Manon has recently been performed and toured by Scottish Opera, has been transmitted in a live screening from the Met, and is about to be performed at Covent Garden, I'm not sure who is the average listener to whom it is unfamiliar. Someone completely ignorant of classical music?
As for Glinka, aren't we being a little Anglocentric? Is he a one-overture composer in Russia?
Rachmaninov: C# minor Prelude; the famous variation from the Paganini set; 2nd and 3rd symphonies.
Quote from: eschiss1 on Tuesday 05 November 2013, 18:05
...Barber- I'd put "Adagio for Strings" (arranged from his string quartet) as the "sole work" he's known for (at least in the US, where it's used in movies, funerals, etc.) - or else he's known for at least two even to the average listener (or more) and doesn't belong in this category/thread :)...
As for Barber, I'm sure the overture
The School for Scandal appears semi-regularly on concert programs, and even
Vanessa pops up on an opera stage now and then.
Quote from: Derek Hughes on Wednesday 06 November 2013, 20:51
Quote from: Dave on Tuesday 05 November 2013, 11:27
Other sole works composers are famous (or known for) to the average listener:
-Franz Lehar's "The Merry Widow" comes to mind (although he composed a number of very fine operettas). . . .
-Glinka's overture for "Ruslan & Ludmila" (not the opera per se mind you). . . .
-Rachmaninoff's 2nd Piano Concerto (arguably, it's way overplayed compared to his other works). . . .
-Massenet's Thais (meditation)
'Dein ist mein ganzes Herz' is surely at least as famous as any other Lehar composition. (Ditto the 'Gold and Silver Waltz'?)
Given that Manon has recently been performed and toured by Scottish Opera, has been transmitted in a live screening from the Met, and is about to be performed at Covent Garden, I'm not sure who is the average listener to whom it is unfamiliar. Someone completely ignorant of classical music?
As for Glinka, aren't we being a little Anglocentric? Is he a one-overture composer in Russia?
Rachmaninov: C# minor Prelude; the famous variation from the Paganini set; 2nd and 3rd symphonies.
The "average listener" phrase/term is very relative. That said, "Manon" is probably the most popular of Massenet's operas (though Werther is quite up there). But even they are rarely performed in major opera houses. That may change as you'd alluded.
Glinka is much more than a one-overture composer in Russia. But how many people outside Russia know his operas and a slew of his other works especially for orchestra, like, for instance, Jota Aragonesa or his string quartets?
You may have a point re. Rachmaninoff. But his 2nd and 3rd Symphonies? The former is famous, the latter, popular, but for the average listener, likely known (or not, depending on whom you're asking), but either not something Rachmaninoff is most famous for from what I can see.
Julius Conus for his violin concerto. I found this short bio of him:
QuoteJulius Conus (Juli Eduardowitsch Conyus or Konius) was a French violinist and composer born on February 1, 1869 (Brahms was 36 years old.) He was actually born in Moscow since his family had migrated to Russia in the early 1800s. Today, he is remembered for his violin concerto in e minor, although he wrote other music, though not much.
http://pronetoviolins.blogspot.com/2009_11_01_archive.html (http://pronetoviolins.blogspot.com/2009_11_01_archive.html)
Excuse me. This is "one work". The average listener, when it comes to Rachmaninoff, gets not only the 2nd PC but the 3rd, which was actually the focus of an Oscar-winning movie, thus popularizing it further.
Okay.