There’s a strange divergence between the way many classical music fans see film music and the view of many of the rest. I’m aware that those groups are not always mutually exclusive, but still, and to generalise, the former tend to see film music as classical’s watered-down, occasionally debased cousin, albeit with its great moments (usually supplied by a classical master moonlighting for the movies). And pop fans? For many of them, film music is classical. Which gets us very quickly to the question I am often asked – just when is it correct to call film music classical and what, essentially, is the difference?

Perhaps we can all agree when film music is not classical. Soundtracks which sample pop songs, Tarantino-like. Or is it controversial to suggest that even these, if songs are used in a way that threads a structure through a film, even effectively creating leitmotifs, can be said to have something of a grasp of classically orientated structures? This is clearly a big subject. For the first time, therefore, we have devoted an issue to film music, to investigate, in a sophisticated way, what this amorphous art form really is. So Charlotte Smith’s fascinating essay asks how composing film music is different from that for the concert hall. Andrew Farach-Colton tells the story of three classical greats and their different experiences working in movies. Gary Dalkin questions whether we can look at national schools of film music as we can classical, finding one of the few to retain a unique sound. We also salute two great masters of the form – Ennio Morricone, in an appreciation by devotee and fellow leading light Hans Zimmer, and the already much-missed John Barry. In the spirit of all good movie franchises, there’s more. By the way, while writing this I’m listening to Morricone’s magnificent “Man with the harmonica” from Once Upon a Time in the West. For innovation, for complexity, for sheer yet subtle power, I’ll take that alongside almost anything.

Looking ahead to next issue, we’re taking a big gulp and searching for the worst-ever covers of classical recordings. Weigh in alongside our critics and contribute your (least) favourites via the discussion forum on our website!

james.inverne@haymarket.com