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The Lineup: The World's Greatest Crime Writers Tell the Inside Story of Their Greatest DetectivesAfter the individual episodes developed, music became integral to the moods, actions, and meanings of the scenes being portrayed. Let me give some illustrations of how it all worked, for which we owe everything to Barrington. My own musical loves have centered predominantly on the latter half of the nineteenth century, especially Wagner (of course!), Bruckner, Mahler, and (later) Richard Strauss. Fairly obviously, the musical tastes of Morse mirrored my own. And, being mentioned frequently in the novels, they had some influence on many of the musical extracts used by Barrington, as did the favorites of Kenny McBain, particularly in the latter case MozartБЂ™s clarinet compositions. Which illustrations do I particularly remember? VivaldiБЂ™s Gloria at the beginning of the first TV program, БЂњThe Dead of JerichoБЂ«; Callas singing Tosca in БЂњThe Ghost in the MachineБЂ«; Ella FitzgeraldБЂ™s voice in БЂњDriven to DistractionБЂ«; MozartБЂ™s The Magic Flute (passim) in БЂњMasonic MysteriesБЂ«; the Schubert Quintet in C in БЂњDead on TimeБЂ«; the Immolation Scene from WagnerБЂ™s Gц¶tterdц¤mmerung in БЂњTwilight of the GodsБЂ«; and the prelude to WagnerБЂ™s Parsifal in БЂњThe Remorseful Day.БЂ«I could go on and onБЂ¦ And I will do a little, since I should not forget Barrington 's catchy composition БЂњTruckinБЂ™ till IБЂ™m DeadБЂ«in БЂњThe Promised LandБЂ«; nor his original rave music in БЂњCherubim and Seraphim.БЂ«If, as is often claimed, music is more able than other arts to give expression and form to our innermost feelings, let me single out the two examples I found most memorable of all ...» |
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