Respondo tarde... pero sí, llevas razón. De una entrevista a Mike Mattesino, quien restauró el score completo para la reedición de 2008:
He (Williams) went for some of the same ideas that had been implemented for the music heard in the Fleischer cartoons and the TV show from the 1950s. I can only suspect that as a kid he saw some of those that maybe had an unconscious effect on what he did with it. The major 5ths and the triads and the dotted rhythm that sounds like it’s saying “Su-perman!”… they’ve all been in the themes for the character from the very beginning. It’s a fascinating phenomenon. Of course this takes nothing away from the brilliance of what was achieved. It was Strauss and Wagner crossed with Copland and Sousa. Perfectly logical and it seems like a simple idea, but pulling it off successfully called for a stroke of genius and that’s what we got.




LinkBack URL
About LinkBacks

Pero me encantaría ver si dijo Williams directamente algo concreto.
Citar
