[Nick Zwar]

I don’t think art exists without context, both how, by whom and when it was created as well how, by whom and when it is perceived. Music is not a descriptive art form, so I expect the liner notes to provide context. Context enriches art. So that’s what I look for in liner notes… context.

The composer matters, of course. But reading a short bio of Beethoven or Jerry Goldsmith is nice the first time, not the tenth. There is always the line between what is interesting context and what does the reader already know. And so it’s not possible and I don’t expect any writer of liner notes to always exactly tailor the notes to what I already know. Sometimes I read stuff I already know, but if there’s anything new in there I didn’t know, it’s already worth it. I sure learned a lot from liner notes of classical music and film music over the years. I guess what’s interesting is why this composer chose this project, how it fits into the arc of his career, and what it reveals about his creative choices. Liner notes should provide background, perhaps a glimpse into the decision making, the artistic gamble, the moment when a composer said yes to a story and began shaping sound into narrative. At least something that is specific to that particular work.

Since the music was written for a film, I expect the liner notes to tie the music to the film, or have a short summary or background of that film. Often times, I have no idea what the movie is even about, and have no inclination to actually watch it, so it’s nice to get some background information for what purpose the music was written in the first place.

Sometimes a track by track commentary makes sense, sometimes a broader overview is enough. But to treat a film score album as if it were a separate entity divorced from the film is like pretending a recording of Daphnis et Chloe has nothing to do with the ballet, or that Handel’s Water Music has nothing to do with the royal event it was composed for. Of course it does. Context enriches art. That is why liner notes should provide what is not in the music itself, the story beyond the notes. And I would say in case of Ravel’s “Daphnis et Chloe”, a track by track commentary makes perfect sense, as it helps you understand the “story” behind the music and how it progresses, whereas in Handel’s Water Music, a track by track analysis if of lesser importance, other aspects are more relevant. Same with film music, sometimes a track by track analysis makes sense, sometimes it doesn’t.

Describing the music in musical terms, as has been suggested, is not what I look for in liner notes. It actually makes no sense to me, because the one thing I have on an album is obviously the music. The music is already there on the album. So I don’t need it described in words. What I want is the information I may not have. When was it written, for what purpose, what was happening in the film or in the composer’s life that shaped it. A crash course in musical description is not the point. Of course, if there are unusual compositional techniques or instruments that are not immediately obvious, by all means, that should be mentioned. The point is to illuminate the music, to provide, as I said, context.

Doug Adams book The Music of the Lord of the Rings is exemplary in this regard. It goes far beyond standard liner notes, with score sheet excerpts, themes shown in notation, and analysis of how they are developed and tied to the narrative. It even explores how the music was designed conceptually, how it was woven into the fabric of the story. That is extraordinary, though clearly beyond what most liner notes can provide, and Doug Adams obviously had access to and many conversations with Howard Shore, so that’s quite a luxury. Still, it sets the bar for what contextual writing about film music can achieve.

From a practical perspective, liner notes are not advertising copy (people get to read them usually after they have bought the album), nor are they academic lectures. They should be entertaining, they are the bridge between the listener and the art. They should tell us why this music exists, what story/images/scenes it was meant to serve, and how it fits into the larger tapestry of the composer’s work. In short, they should set the music in the proper context and provide background information about the music, rather than being too concerned with the music itself. I don’t see how liner notes describing Beethoven’s 5th symphony would do much for me when I have a recording of it. What I do find interesting is the background of its creation, what is special about it, perhaps its impact and historical influence or significance (obviously, not relevant when the liner notes are for more current releases.)
As I said, I don’t think art, including or perhaps even especially music, exists without context. So in short, that’s what I would expect from liner notes: context.