Give Yourself A Little Credit

It was just a guess. But I knew I could have fun with it.

Last week, I played the lovely “Romance” of Mozart’s Piano Concerto No. 20 on Classic Mornings. The performance was from the soundtrack of the film Amadeus, which celebrates its 40th anniversary this fall. English pianist Imogen Cooper was joined by the Academy of St. Martin in the Fields, conducted by Neville Marriner.

Afterwards, I asked listeners if they remembered hearing it during the film. If not, I suggested that perhaps they didn’t stay for the credits. Oops! 

It’s OK. I wanted them to know that the piece was a sort of bonus at the end of the film. Actually, it was more than that. After the fictitious story about genius and jealousy, it was a work by the real-life genius, Wolfgang Amadeus Mozart. And it lent a bit of an accompaniment to anyone reflecting on the film they had just seen. Those who left the theatre when the credits began wouldn’t have heard the piano concerto excerpt.

Over the years, I came to appreciate film credits. I wouldn’t label myself a “cinema credit connoisseur.”  But I discovered that it’s wise to stick around for them. You did pay the admission price, didn’t you? So why not enjoy every bit of what appears on the big screen? And you get to hear the closing soundtrack music on the theatre sound system!

Sometimes there are flashbacks – either still shots or scenes from the film you just watched. And there might be outtakes that weren’t included in the final cut, or versions of those scenes that include amusing mistakes or “bloopers.”

Along with all of those enticements, may I suggest the credits themselves? Yes, there are lots of names. But sometimes you’ll discover that a well-known performer had a bit part in the film, even though you hadn’t noticed. That can be a fun surprise.

Over the years, I have spotted the names of musicians whom I met when they were students, so the credits gave me the pleasure of knowing that they made it big! And I’m always curious to find out which orchestra or conductor was featured on a soundtrack, and where a film was made.

I know that the credits for those blockbuster big-budget films seem to go on forever. Still, it’s interesting to learn how many people it took to make it happen.

Now for those of you who think this is all a bit strange, I want you to know that you’re not alone. Over the years, friends and family members have chosen to meet me outside the theatre, rather than join me in my credit curiosity. I’m grateful they didn’t disown me. But I have to add that when there were outtakes or amusing lines that did appear in the credits, and which they missed, I was sure to relate those with the satisfaction of one who had just come back from a great day of fishing.

Decades ago, there were a couple of “$2 movie theatres” in town. The films were always months old by the time they were shown. Yet, for that price, it was hard to be disappointed, even by a forgettable flick. And it was tempting to return to see some of them again. But there were evenings when they would turn off the projector before the credits concluded. The managers of those theatres came to learn that there was at least one patron who considered the credits a part of the film.

All of this may not convince you to sit through a movie for the thrill that comes just beyond the final flashing of the film rating, as the tail leader flaps off the reel and gives way to a white screen. But just remember that there can be delight in the little details.

Maybe it’s my “training” in movie houses that led me to discover the minutiae you might have missed in listening to classical music. And just as I’m appreciative of my patient friends and family members, I’m grateful when you continue to tune in and let me share those discoveries with you. Thank you!

In just the past month, I came to learn that Antonín Dvořák sketched his Humoresques while in New York City. The Humoresque no. 7 is among his most famous pieces! Vaughan Williams’ Fantasia on Greensleeves was first performed at a London Proms concert 90 years ago! Imogen Cooper celebrated her 75th birthday on Wednesday. And tenor/conductor Peter Schreier and pianist/musicologist Pietro Spada were born the same day: July 29,1935. Both were Peters (Pietro is the Italian version of Peter) And both had the initials “P.S.”

That reminds me: P.S. Join us for Classic Mornings. Tune in Monday through Friday from 9-noon on FM 90.9 or online at will.illinois.edu.