Published today...
https://www.routledge.com/Double-Lives-Film-Composers-in-the-Concert-Hall-1st-Edition/Wierzbicki/p/book/9780367028879
Let's wait until it becomes less expensive :-)
I agree with Adriano. Prohibitively expensive...
Some Routledge books are occasionally to be found at discount (I have one I got on Kindle apparently legally for free- not sure how that worked, considering.) Anyhow, will see if my library gets it.
I see you're a contributor, Mr Carroll!
Contents:
1. Erich Wolfgang Korngold: The Last Prodigy - Brendan G. Carroll
2. The Concert Works of Georges Auric, 1945 to 1983 - Colin Roust
3. Looking for Mr. Hyde: Franz Waxman's Musical Activities beyond Film - Ingeborg Zechner
4. The Double Life of Miklós Rózsa's Violin Concerto and The Private Life of Sherlock Holmes - Stephen Meyer
5. Bernard Herrmann's Concert Music, 1935 to 1975: An Overview - Samuel Cottell
6. Nino Rota: Neo-Classicist, Classical Modernist, or Pragmatic Pluralist? - Carl Alexander Vincent
7. Jerome Moross: The Concert Hall and Stage Works - Mariana Whitmer
8. Don Banks: Hammer Horror and Serial Composition - Michael Hooper
9. Modern Composer Off the Screen: Leonard Rosenman's Concert Music - Reba A. Wissner
10. The Maestro of Multiple Voices: The 'Absolute Music' of Ennio Morricone - Felicity Wilcox
11. 'I Did It for Fun': André Previn, Crossover Musician - Frédéric Döhl
12. Wojciech Kilar: 'I Am Like a Doctor Jekyll and Mister Hyde' - Bogumila Mika
13. Alberto Iglesias: The Spanish Composer behind Pedro Almodóvar's Films - María Ángeles Ferrer-Forés
14. Johannes factotum: Jóhann Jóhannson - Vasco Hexel
15. Laura Rossi's War Musics - Kendra Preston Leonard
Description:
Double Lives: Film Composers in the Concert Hall is a collection of fifteen essays dealing with 'iconic' film composers who, perhaps to the surprise of many fans of film music, nevertheless maintained lifelong careers as composers for the concert hall. Featured composers include Erich Wolfgang Korngold, Franz Waxman, Miklós Rózsa, Bernard Herrmann, Nino Rota, Leonard Rosenman, and Ennio Morricone. Progressing in chronological order, the chapters offer accounts of the various composers' concert-hall careers and descriptions of their concert-hall styles. Each chapter compares the composer's music for films with his or her music for the concert hall, and speculates as to how music in one arena might have affected music in the other. For each composer discussed in the book, complete filmographies and complete works lists are included as appendices. Double Lives: Film Composers in the Concert Hall is accessible for scholars, researchers, and general readers with an interest in film music and concert music.
...of course, much of this content will be off-limits for UC. Just a reminder...
But it will also be a fascinating read and a valuable work of reference. Alas, it is too expensive for my pocket though. A pity...
the earliest film music I'm aware of- starting with Saint-Saëns, continuing with the composers of silent film cues some of which are being uploaded alongside their composers' comcert music lately at IMSLP, is a related thing posing few such remit problems..
Oh, quite. But this book has little to interest us here, I fear.
It's a subject that needs more than one book in any case. The composer whose absence I most noted is also outside our remit (he was born in 1906 in London) and I wonder about the presence of some rather than others, but that's probably precisely the point- one can't cover such an interesting subject in one book. It -is- available for "only" USD 56 or so on Kindle (more than the $0.00 I was able to get another Routledge book for, but less than $100+) and I agree that this particular book is not our thing, but hopefully there have been / will be more good books on the subject available from this and other sources some of which will have more intersection with this group's concerns (and the concerns with its individual members). Anyhow, I ramble and apologize; you are right of course...
I personally would like to know about the music of Brian Easdale who wrote the score for "The Red Shoes" and who composed a fair number of works for the Concert Hall in, by all accounts, an attractively neo-late-Romantic vein - including a piano concerto.