The best film scores walk a delicate line: They help propel the story, guide an audience's emotions and are also often a distinct character, with a role and voice as important as any actor's — but they also have to do all that without getting in the way, or drawing too much attention.
When Daniil Trifonov was 20, he scored a double victory, taking home top prizes at both the Tchaikovsky and Rubinstein International Piano Competitions. That was six years ago, and by now he has secured a spot as one of the most revered – perhaps even feared – classical pianists on the scene today.
Bill Murray has come a long way since his early days as Nick the Lounge Singer on Saturday Night Live. He made screwball comedies like Caddy Shack and Stripes. Then he made serious films, like Lost in Translation.
This week, I went to the Peabody Institute of The Johns Hopkins University in Baltimore to sit in on a conducting class led by Marin Alsop, the music director of the Baltimore Symphony Orchestra. The Maestra was showing several Peabody students — aspiring young conductors — some of the fine points of leading an orchestra, as they led musicians through Don Juan, the dramatic tone poem by Richard Strauss.