Magic of the Movies When Film Music Comes Alive

Film music has a unique ability to reach us instantly. A single theme can unlock memory, stir emotion, and reconnect us with moments of wonder, loss, courage, and hope. Unlike any other musical form, it lives simultaneously in our ears and our imaginations.

Magic of the Movies brings some of cinema’s most powerful music into the concert hall, performed live by choir and orchestra. This programme moves from intimate reflection to epic storytelling, showcasing the extraordinary composers who have shaped how we experience film.

The Voice as Storyteller

Choral music has always been central to cinema’s emotional language. Composers frequently turn to the human voice when words alone are not enough.

Both Sides NowWritten by Joni Mitchell, this song has transcended its folk origins to become one of the most reflective pieces ever used on screen. Mitchell’s writing explores how perception changes with age and experience, and in a choral setting the music takes on a shared, collective wisdom.New to SWPC.

The Place Where Lost Things GoComposed by Marc Shaiman with lyrics by Scott Wittman for Mary Poppins Returns, this song is a masterclass in emotional restraint. Shaiman deliberately avoids sentimentality, allowing space, silence, and simplicity to carry the message of comfort and remembrance.New to SWPC.

May It BeWritten by Enya for The Lord of the Rings: The Fellowship of the Ring, this piece draws on modal harmony and Celtic vocal style. Its almost sacred stillness mirrors the film’s themes of hope and endurance in the face of darkness.

Moon RiverComposed by Henry Mancini with lyrics by Johnny Mercer, Moon River from Breakfast at Tiffany's is a model of melodic elegance. Mancini’s gift was emotional clarity, and this melody remains one of the most recognisable in cinema history.

Music from Skyfall and Writing's on the Wall from Spectre shows a different use of the choir. These Bond themes draw on darker harmony and dramatic tension, continuing a lineage that stretches back to John Barry while embracing a modern cinematic sound world.

Mansions of the LordWritten by Nick Glennie Smith for We Were Soldiers, this piece uses hymn like simplicity to honour sacrifice. Its directness and lack of theatricality give it enormous emotional weight.

The Orchestra as Landscape

Film composers often use the orchestra not just for melody, but to create space, scale, and atmosphere.

The Disney Medley celebrates the work of composers such as Alan Menken, whose melodies define generations of storytelling. These scores combine classical orchestration with theatrical instinct, designed to communicate directly and joyfully.New to SWPC.

From Interstellar, the score by Hans Zimmer represents a bold reimagining of film music. Zimmer uses repetition, harmony, and organ like textures to explore time, gravity, and human connection. It is music that unfolds slowly and powerfully, demanding patience and focus.New to SWPC.

Jurassic Park showcases John Williams at his most iconic. Williams’ gift lies in thematic writing that captures awe and innocence while supporting immense dramatic scale. Few film themes are as instantly evocative.

Choir and Orchestra Together

When choir and orchestra unite, film music achieves its fullest expression.

The The Lion King Suite, by Hans Zimmer with songs by Elton John and Tim Rice, blends symphonic writing with African inspired rhythm and choral power. The result is music that feels ancient, ceremonial, and thrilling.New to SWPC.

The The Mission Suite by Ennio Morricone is widely regarded as one of the greatest film scores ever written. Morricone’s fusion of sacred choral writing, solo melody, and orchestral colour creates music of extraordinary spiritual depth.New to SWPC.

Highlights from The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II, remind us of the craftsmanship behind classic film musicals. These songs balance charm, joy, and emotional truth with remarkable ease.

The programme concludes with For Good, composed by Stephen Schwartz for Wicked. It is a song about friendship, change, and gratitude, offering a reflective and deeply human close to the concert.

Looking Forward

Many of the works in this programme are new to South West Philharmonia and Chorus, marking an important step in the ensemble’s artistic journey. Magic of the Movies is not simply a collection of well loved soundtracks. It is a celebration of the composers who have shaped modern storytelling and of the power of live performance to reconnect us with the emotions behind the screen.

stay safe, stay well and I'll see you soon.

Marcus

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