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       M U S I C          T H E O R Y         O N L I N E

                    A Publication of the
                  Society for Music Theory
      Copyright (c) 1993 Society for Music Theory
+-------------------------------------------------------------+
| Volume 0, number 2      April, 1993      ISSN:  1067-3040   |
+-------------------------------------------------------------+

  General Editor                          Lee Rothfarb

  Co-Editors                              David Butler
                                          Justin London
                                          Elizabeth West Marvin
                                          David Neumeyer
                                          Gregory Proctor

  Reviews Editor                          Claire Boge

  Consulting Editors
	Bo Alphonce		Thomas Mathiesen
	Jonathan Bernard	Benito Rivera
	John Clough		John Rothgeb
	Nicholas Cook		Arvid Vollsnes
	Allen Forte		Robert Wason
	Stephen Hinton		Gary Wittlich
					  

  Editorial Assistants                    Natalie Boisvert
                                          Cynthia Gonzales

  All queries to: mto-editor@husc.harvard.edu
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AUTHOR:  Smoliar, Stephen
TITLE:  Commentary on Neumeyer's MTO 0.1 essay
REFERENCE: mto.93.0.1.neumeyer.art

File:  mto.93.0.2.smoliar.tlk

I have one comment to offer about David's article in response to his request
for information about films which used the music of Schoenberg's Opus 34.
There was an Ojai Festival somewhere around the summer of 1980 at which Lukas
Foss conducted a program on the theme of music and cinema.  During his
performance of Opus 34, he had an excerpt from the original (silent) NOSFERATU
projected on a screen behind the orchestra.  Unfortunately, I do not have the
resources out here in Singapore to provide an accurate reconstruction of the
event;  but I shall supply what my memory can.  I am almost certain that Foss
conducted all three movements, without interruption, just letting the film run,
without changing shots for the different movements.  I also believe that the
portion of the film he used was the one in which we see the Count entering the
bedroom with the camera looking over his shoulder, allowing us to see that he
is not reflected in the mirror.  The also includes a few cuts to close-up shots
of his face.  That is the best I can recall without sitting down with my
videotape of the film.

Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
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END OF MTO ITEMS