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From the Editor
Here you will find composer tributes, film music announcements and essays
| Contents |
Scroll down this page to read any of these topics:
2006
Film Music Review has moved to a new website
2005
Recommended Christmas CDs from the Movies
FILM COMPOSER TRIBUTES
New book pays tribute to Randy Newman
Centennial Tribute to Marvin Hatley
2004
In Memory of...
Elmer Bernstein
David Raksin
Jerry Goldsmith
80th Anniversary Tribute to Henry Mancini
2003
In Memory of Michael Kamen
John Williams on Radio
Glass on Film
2002
Three Composer Centennials: Hugo Friedhofer, Bronislau Kaper and Sir William Walton
80th Birthday Tribute to Elmer Bernstein
Happy 70th Birthday, John Williams!
2001
Elmer Bernstein Film Festival on TCM
In Memory of...
Ralph Burns, Raoul Kraushaar, Jay Livingston
2000
Aaron Copland Centennial
Hooray for Benny Herrmann
John Williams Lights Up Symphony Hall Anniversary
John Williams Goes Irish With the Boston Pops
Victor Young Centennial
FILM MUSIC ANNOUNCEMENTS
Broadcast Film Critics and Golden Globe Awards
Web Poll - Favorite Film Music of the 1930s, '40s, and '50s
Recommended Film Music DVDs
Bing & Bob in Hollywood - A Centennial Tribute to Bing Crosby and Bob Hope
ASCAP Film Music Awards
For additional reading, go to:
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The 17th Annual Sammy
Awards were announced on 13 February
2005
To read them, click on this link:
Attention Film Music Lovers!
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A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)
This expanded and updated guide was written by Roger Hall.
This guide is a reference book with a great deal of useful information, including -
*A timeline of film music highlights from 1926 to 2001
*A chapter on suggestions for listening to film music
*A complete list of Academy Award film music from 1934 to 2000
*A complete list of the Sammy Movie Music Awards from 1988 to 2001
*Top100 Scores of the 20th Century
*Comments on Film Music: Interviews with two classical composers (Aaron Copland and Virgil Thomson); The Composer as Commentator (Bernard Herrmann, David Raksin, Dimitri Tiomkin); The Composer as Critic (Elmer Bernstein); The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini); The Movie Critic and Historian (David Thomson and Tony Thomas).
*An extensive bibliography and discography.
Throughout the guide are many illustrations of composer autographs, including:
Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa, Max Steiner , Dimitri Tiomkin, John Williams and others.
There are also songwriter autographs as well, such as:
Harold Arlen, Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.
The title page of the guide has a rare score page from the end credits of E.T., boldly signed by John Williams.
This film music guide is a limited edition and will be numbered and signed by the author.
A Guide to Film Music was first announced in the March/April 2002 issue of Film Score Monthly.
Praise from film composers!
"Thank you for the copy of your film music book. Congratulations and best wishes for success in your future contributions to the film music literature."-- John Williams, 2003
"I do feel your book is done in a most interesting way. It affords a quick overview of what has not become a very, very broad field. Congratulations!" -- Elmer Bernstein, 2002
"A Guide to Film Music should be available to anyone interested in the Golden Age and beyond. I was so happy that KONG made your all-time list"-- John Morgan (composer and music restorer for Classic Film Music Series CDs)
To order your signed and numbered limited edition of A Guide to Film Music, while supply lasts, go to:
Music Titles from PineTree Press
Bookshelf Search
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2006
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2005
Recommended
Christmas CDs from the Movies
To help support FILM MUSIC REVIEW, please use the above Bookshelf Search below to order any of your CDs, Videos or DVDs.
Everyone has their own CD favorites for the Christmas season.
Here are some of mine...
Bing Crosby
The Voice of Christmas (2 CDs) [MCAD 2-11840, 1998].
This is the largest collection of Crosby Christmas recordings, with 44 tracks on two discs. There are four different versions of "White Christmas" - including the original two made in 1942 for HOLIDAY INN.
Also there's "Silver Bells" (duet with Carol Richards) - this song was introduced by Bob Hope in THE LEMON DROP KID, 1951. There are also many familiar carols such as "Adeste Fidelis" and a great swinging' version of "Jingle Bells" (with the Andrews Sisters).
For me, Bing Crosby was the best pop singer of the 20th century. His vocal ability and emotional sincerity are an unbeatable combination. Listen to his renditions of "Silent Night" and they may even bring a tear to your eye. This collection of Christmas songs and carols is a must have for any Bing Crosby fan or anyone who loves a nostalgic holiday music treat.
Mood Music
Christmas at the Movies (1998) - Michael Chertock, piano [Telarc CD-80485, 1998].
A very appealing instrumental collection of 16 tracks from 15 Christmas films (HOME ALONE, THE NIGHTMARE BEFORE CHRISTMAS, THE SANTA CLAUS) and TV programs (A CHARLIE BROWN CHRISTMAS) with easy laid-back piano styling by Chertock. This is a great one to play while entertaining or for just relaxing during the holiday season.
Soundtracks
THE BISHOP'S WIFE (1947) - Music by Hugo Friedhofer [BYU FMA-HF 109, 2002].
This delightful original soundtrack of Friedhofer's score is well worth having if you're a fan of the movie starring Cary Grant, David Niven and Loretta Young. The BYU producer is James D'Arc and the CD producer is Ray Faiola, who also did the audio restoration. Because of the condition of the acetates, some of the cues are from the Spanish music and effects track that was prepared several years after the film's release. Because of this inferior material, there are minor sound distortions on some tracks but they don't really detract much from the music.
This is a wonderful Friedhofer score and the detailed notes by William H. Rosar give a very good analysis and description of it.
There is also a very touching essay by one of the film's young stars, Karolyn "Debby" Grimes, titled: "Make Believe and Real Life." Karolyn Grimes also played "Zuzu" in IT'S A WONDERFUL LIFE. She has published a lively newsletter, "The Zuzu News," and has her own web site - http://www.zuzu.net
THE BISHOP'S WIFE CD is available by mail from Screen Archives Entertainment
The Brigham Young Univerity Film Music Archive has so far released original soundtracks by other vintage film composers, including an excellent 3-CD set of Max Steiner at RKO [see review ].
[Note: read more about Friedhofer above under the heading: "Film Composer Tributes - 2002"]
HOME ALONE (1990) - Music by John Williams/Various songs [Sony, 1990].
This hugely popular comedy features some great vintage Christmas songs, "White Christmas" (sung by The Drifters) and "Have Yourself A Merry Little Christmas" (Mel Torme); and several carols: "O Holy Night" (Adam) and "Carol of the Bells" (Wilhousky). In addition to his great score, there is also a lovely original Christmas song by Williams: "Star of Bethlehem." This one is an enjoyable listen anytime during the year.
IT'S A WONDERFUL LIFE (1946) - Music by Dimitri Tiomkin [Sony Wonder, 1997].
Truely one of the most beloved movies. Even though only the final portion (what I call "George's Resurrection") takes place at Christmas, this has become a holiday favorite. I was fortunate to have first watched WONDERFUL LIFE back in the 1950s even before it became a holiday classic. This CD has excerpts of both the dialogue and music. Most soundtrack purists don't want dialogue mixed in with their music. I'm not one of them. This is such a feast, with so many wonderful scenes, that it shouldn't be objectionable to any fan of this "wonderful" film. The sound quality on this CD isn't great but Tiomkin's music definitely is! One of his best scores of the 1940s.
If you want the music without the dialogue, see the next item...
IT'S A WONDERFUL LIFE (Tiomkin)/ A CHRISTMAS CAROL (Richard Addinsell)/ MIRACLE ON 34TH STREET (Cyril Mockridge) [Telarc CD-88801, 1988]. Royal Philharmonic Orchestra, conducted by David Newman.
For some strange reason that escapes me, this CD has become quite rare and is now a collector's item. The three suites are quite generous.
It begins with a brief "Sundance Fanfare" composed by David Newman. Next up is a suite from Tiomkin's great score to IT'S A WONDERFUL LIFE [38:33], with a final track of unreleased music beautifully reconstructed and orchestrated by Steven Bernstein. The second suite (again reconstructed by Steven Bernstein) is from Richard Addinsell's score for A CHRISTMAS CAROL (1951) [14:08]. The third suite is from Cyril Mockridge's charming score for MIRACLE ON 34TH STREET (1947) [11:00].
This CD may be hard to find but is worth searching for to hear three memorable Christmas film classics, expertly conducted by David Newman, himself a film composer.
Highly recommended for those who want to hear these scores in their full splendor.
Please use the above Bookshelf Search to order your CDs or DVDs.
2005 marks the centennial anniversraies of five vintage songwriters who wrote or performed songs in films:
Harold Arlen, Dorothy Fields, Tex Ritter, Jule Styne, and Bob Wills
To read about them go to:
Composer Tributes -
2005
New book
pays tribute to Randy Newman
One of the most distinctive film composers and songwriters writing today is Randy Newman, born in Los Angeles on 28 November 1943.
I was fortunate to be in the audience at Harvard University on 16 March 2004 when he gave a lively and outspoken interview interspersed with his playing and singing some of his quirky songs.
Two film clips were shown: "When She Loved Me" from TOY STORY 2 and a scene from THE NATURAL.
In his review in The Boston Globe, Steve Morse reported that Randy said these films "represented a chance for me to write hero music, which was good, even though it's antithetical to my thinking." He also jokingly said: "I talk about movie music like it really matters!"
When I met Randy backstage after the interview I presented him with the Sammy Award for his score to SEABISCUIT. He was pleased that I recognized his score. Then we discussed the score that ultimately won the Oscar, Howard Shore's LORD OF THE RINGS, which he was not very complimentary about.
There is a new book written about Randy Newman by Kevin Courrier.
This book is loaded with psychological theories. The author's main premise is that Randy Newman is a musical outsider and thus a kind of masked man "whose very self can hold a multitude of meanings."
Although there are references scattered throughout the book about his film scores and songs, the main chapter discussing Randy's film scores is titled "The Celluloid Mask."
This book provides a fascinating perspective on a very indidualistic film composer and songwriter.
If you're a Randy Newman fan, this is well worth a read.
The book is titled:
Randy Newman's American Dreams
Also there is a recommended CD available, performed by Randy Newman, with mostly non-film songs (except for "When She Loved Me") and also a few of his loveliest film themes (AVALON and RAGTIME):
The Randy Newman Songbook, Vol. 1
Centennial
Tribute to Marvin Hatley
Born: 3 April 1905
Died: 26 August 1986
He worked primarily at the Hal Roach Studios.
There he began working on comedy film shorts and eventually became the primary composer for Laurel & Hardy films.
Hatley was Oscar nominated for two of his Laurel & Hardy scores in consecutive years:
WAY OUT WEST (1937)
BLOCK-HEADS (1938)
The famous Laurel & Hardy theme "The Ku-Ku Song"(aka: "Dance of the Cuckoos") was also composed by Hatley. He originally wrote it in the 1920s for a radio program in Los Angeles. Stan Laurel heard it and asked if it could be used for the Laurel & Hardy theme. Hal Roach paid Hatley $50 for the rights to the theme and it became identified with Laurel & Hardy from then on. It was a very stingy but wise investment!
Hatley also composed songs, including the popular "Honolulu Baby," featured in one of the greatest L & H comedies, SONS OF THE DESERT (1933).
Other films he scored include: A CHUMP AT OXFORD, THERE GOES MY HEART and TOPPER.
Some of the above information about Marvin Hatley is from a very good article by John V. Brennan at this recommended link:
Here is a list of CDs with Hatley's music:
Trail of the Lonesome Pine - highly recommended for Laurel & Hardy fans - it features wonderful songs from the original soundtracks, including several from WAY OUT WEST - "Trail of the Lonesome Pine" and "At the Ball, That's All" - sung by Chill Wills and His Avalon Boys, who also sang in several Hopalong Cassidy westerns.
Songs and Sketches from the Hal Roach Films
OUR RELATIONS: The Lost Laurel & Hardy Music
Composer Tributes - 2004
In Memory
of...
The summer of 2004 will go down in film music history as a time of incredible loss.
Within only about one month we lost three film music greats:
Elmer Bernstein, Jerry Goldsmith and David Raksin.
What follows are my tributes to these giants of the film music world...
Elmer Bernstein
Born: New York, New York, 4 April 1922
Died: Ojai, California, 18 August 2004
I think that the tide running against good music is so strong that none of us who care are surprised or outraged any more when we hear dumb music accompanying a film...Film has become, with some exceptions, a special effects medium. Films reflect the generally shoddy standards of present-day society. It's a junk culture, and people buy junk...generally speaking, film has not advanced in terms of taste and intelligence, and that makes it tough for music.
--Elmer Bernstein in an interview with Tony Thomas, as quoted in Music for the Movies, 2nd edition, 1997.
First, I send out my deepest sympathies to his family. Even though he lived for over eight decades and was one of the most respected film composers in Hollywood, it is still a tragic loss.
For me, he was one of the composers in the Great Film Composer Triad of the Silver Age. The composers who make up this triad are: Elmer Bernstein - Jerry Goldsmith - John Williams. All three composers began their composing for TV or movies back in the 1950s. And now two of them have been silenced.
In the case of Elmer Bernstein this is especially sad for me because his music was some of the first I recognized back in the '50s.
One of his early scores was for ROBOT MONSTER in 1953, now considered one of the worst films ever made. I saw it as a teenager and still remember it as a "guilty pleasure." I wrote about first watching this film on late night TV back in the '50s and what a lasting impression the score made on me. My story was written as an 80th birthday tribute to Elmer. You can read it at the official website:
Between 1951 and 2002, Elmer composed over 200 scores for films and TV programs.
Here are just 10 of his great film scores from the 1950s and '60s:
THE MAN WITH THE GOLDEN ARM (1955)
SWEET SMELL OF SUCCESS (1957)
SOME CAME RUNNING (1958)
THE SONS OF KATIE ELDER (1965)
But the score that Elmer said was his favorite is:
I'd agree with his choice.
This has one of the simplest and most delicate film scores ever composed. It's a masterpiece of film scoring.
I named it to the Top Ten of of Best Film Scores of the 20th Century in A Guide to Film Music.
Strangely, Elmer Bernstein won his only Oscar for his adapted score for a musical, THOROUGHLY MODERN MILLIE in 1967. He should have received at least several more Oscars for his significant landmark scores, like THE MAGNIFICENT SEVEN and TO KILL A MOCKINGBIRD.
Later, he composed scores for hilarious "Saturday Night Live" comedies like TRADING PLACES (1983) and GHOSTBUSTERS (1984); also intense dramas, MY LEFT FOOT (1989) and THE GRIFTERS (1990).
Even though he was probably best known for his rugged outdoor western music, such as seven of the John Wayne westerns, Elmer's ability to compose a subtle score was always evident, as in THE AGE OF INNOCENCE (1993).
His last major score was FAR FROM HEAVEN, which I chose for The Sammy Award as Best Score of 2002. It was fortunate that he had the opportunity to close out his career with such a brilliant film score.
One of his best loved projects was composing scores for the Eames short films. He released a CD on his own Amber Records label of music for some of the Eames films. I named it the Best of the Month for July 2000. Shortly afterwards, I was very pleased to receive this email message:
Dear Roger -
I know that performers and artists are never supposed to write letters to reviewers, but in this instance I just can't help telling you how thrilled I was by your review of the Eames album. It was particularly pleasing to find that you had such a clear idea of what I was trying to do. I am most happy that you enjoy the music of Ray and Charles Eames. I was priviledged to be a part of their life for twenty-four years.
I must say that the general response to the album encourages the release of some of the other of more than thirty films I did with them. Once again, thank you.
Elmer Bernstein
Unfortunately, he didn't get to release any other Amber releases of his music. But in 2004 he did record his score for KINGS OF THE SUN from 1963, which is a fan favorite and hopfully will be released as a tribute to him.
For compilations of music conducted by the composer, here are two which are highly recommended:
Elmer Bernstein Conducts Elmer Bernstein (Denon CD, 1995) - this is the best one condcuted by EB
Great Composers: Elmer Bernstein (Varese CD, 1999)
To hear a very good audio tribute by NPR's Andy Trudeau, go to:
Elmer Bernstein: Man with a Golden Ear
One of his most touching TV themes for was a 1960s documentary titled: HOLLYWOOD AND THE STARS. Elmer's notes for the Denon CD state that: "I tried to express, in the main theme, a feeling of nostalgia for all the lost glamour and romance."
And that is how I will remember Elmer Bernstein--with "a feeling of nostalgia."
And I'll look back with admiration on the greatness of his talent.
He was a man of enormous energy and grace.
May his music continue to live on with film lovers everywhere.
--Roger Hall, 24 August 2004
Your comments about Elmer Bernstein are welcome.
Send them to:
Jerry Goldsmith
Born: Los Angeles, California, 10 February 1929
Died: Beverly Hills, California, 22 July 2004
What an enormous loss for his family and friends, and to his fans worldwide.
I first became aware of Jerry Goldsmith's music with his TV work, such as the Twilight Zone episode, "The Invaders." Also his later TV themes for DR. KILDARE, THE WALTONS, and STAR TREK: VOYAGER. Then there were his early memorable film scores, like FREUD and A PATCH OF BLUE.
Of course he really came into prominence with his innovative score for PLANET OF THE APES in 1968. You can hear Goldsmith giving his very perceptive comments on the 35th anniversary DVD of that film--one of the best composer commentaries available on any DVD. I highly recommend listening to it.
Later, he produced many distinctive scores for the STAR TREK series.
Besides the film scores already mentioned, here are 12 more that come to mind:
RIO CONCHOS (1964)
PATTON (1970) -- perhaps his greatest score
CHINATOWN (1974)
THE WIND AND THE LION (1975)
THE OMEN (1976)--his only Oscar winner
ISLANDS IN THE STREAM (1977) --reportedly his favorite score
POLTERGEIST (1982)
THE RUSSIA HOUSE (1990)
BASIC INSTINCT (1992)
RUDY (1993)
THE GHOST AND THE DARKNESS (1996)
L.A. CONFIDENTIAL (1997)
There are so many other scores which could be named. He was that prolific and versatile.
Here are several very good compilations worth having, both conducted by the composer himself:
The Film Music of Jerry Goldsmith (Telarc CD)
Goldsmith Conducts Goldsmith (Silva CD)
I think one of the best reflections of what a film composer goes through is found in the following quote from Fred Karlin's excellent book, Listening to Movies.
Jerry Goldsmith said:
Some people might imagine a composer as a quiet, romantic figure, dreaming up beautiful chords and melodies, but to me every assignment is a scramble and a crunch. Each assignment becomes an agonizing experience. Where shall I begin? What notes shall I play? What combinations of sounds will be at once melodic and original and attention-grabbing that the audience will be hooked?
It may have been a struggle for him, but the result was a joy for his many fans, including myself.
To illustrate how much I admire his music, I selected 8 Jerry Goldsmith scores (tied with Alfred Newman, Max Steiner and John Williams) on my list of Top 100 Film Scores of the 20th Century in A Guide to Film Music: Songs and Scores
I'd like to thank Maestro Jerry Goldsmith for his years of devotion to the film industry and his superlative work in producing some of the most memorable film scores of our time, even for those films that were not very good.
He had a rare gift for film scoring and he used it superbly.
He was a GIANT in the film music world.
He will be greatly missed.
Yet his film music will continue to live on...and fortunately a lot of it is available on such labels as Prometheus Records and Film Score Monthly.
And for that all film music lovers can be very thankful.
--Roger Hall, 22 July 2004
Your comments about Jerry Goldsmith are welcome. Send them to:
David Raksin
Born: Philadelphia, Pennsylvania, 4 August 1912
Died: Van Nuys, California, 9 August 2004
As with Elmer Bernstein and Jerry Goldsmith, I'd like to offer my condolences to David Raksin's family.
Since he lived to the age of 92, he had a long and fulfulling life as a composer, even with the shortcomings of some dumb producers. One of David's favorite stories was the one about a producer who said he wanted music for his film that sounded like Alban Berg's opera Wozzeck. Raksin thought he had finally found someone who was interested in new music. When he invited that same producer to his home, the producer heard some music playing on the phonograph and asked Raksin: "What's that crap you're playing?" "That crap," replied Raksin, "is Wozzeck!" End of story.
His tale about how he wrote the theme for LAURA often has been told and not always accurately. I reprinted the tale as told by the composer himself in A Guide in to Film Music. I also had some personal comments to make in the Chronology section of the guide. For example:
"1944 - What happened to David Raksin's score for LAURA? This has one of the most haunting themes from any film. Yet it wasn't even nominated for an Oscar. A few months after the film noir mystery was released, Johnny Mercer wrote lyrics to the theme and it became a bit hit for Woody Herman and his band, and also a memorable recording was made by Dick Haymes."
There's a suite on an essential RCA CD titled: David Raksin Conducts His Great Film Scores: Laura, Forever Amber, The Bad and the Beautiful. It may be hard to locate but it's well worth seeking out. All three of the scores have been released on separate CDs:
LAURA has an original soundtrack conducted by Alfred Newman, and even has the famous 20th Century Fox fanfare, composed by Newman. It was released under the Fox Film Score series on an Arista Records CD, along with Herrmann's score for JANE EYRE. That's another essential release.
Another soundtrack is Raksin's brilliant rousing score for:
FOREVER AMBER (Varese Sarabande CD)
A third soundtrack has the unforgettable music for
THE BAD AND THE BEAUTIFUL (Rhino CD)
There is also a CD compilation that includes the LAURA theme, with the Hollywood Bowl Symphony Orchestra conducted by Raksin:
Music in Film: Milestones of the Millennium Series (Sony CD)
One of the best books mentioning comments by David Raksin is by another film composer-- who died this year om 26 March 2004. His name is Fred Karlin and his book is highly recommended:
Listening to Movies: The Film Lover's Guide to Film Music
If you can find a copy on video of laser disc (my LD has tracking defects--buyer beware), the excellent 90 minute documentary - "Music for the Movies: The Hollywood Sound" - includes David Raksin candid comments about his own music (especially LAURA). You will also see John Mauceri speaking with Raksin and also conducting LAURA plus other film music. It's probably the best documentary yet made about Hollywood music of the 1930s and '40s.
When are we going to get more of David Raksin's wonderful soundtracks on CD? How about Film Score Monthly releasing one or two of them? Hopefully it will be soon.
These are just a few I'd like to see available on CD: FORCE OF EVIL, PAT AND MIKE, SUDDENLY, and WILL PENNY. Many other scores could be named.
He was perhaps the last of the great Golden Age film composers.
David Raksin completed his autobiography, If I Say So Myself, just before his death. It promises to be full of funny stories about his film composer comrades and others he knew in Hollywood and elsewhere.
Though his output wasn't as large as other film composers like Steiner and Newman, he was a true craftsman.
May his music live on with more appreciation and respect for his dedication and talent as a film composer.
--Roger Hall, 10 August 2004
There is a very good summary of David Raksin's career at:
Your comments about him are welcome.
Send them to:
These two books by the well respected film historian, Tony Thomas, have information about Elmer Bernstein, Jerry Goldsmith and David Raksin:
Film Score: The Art & Craft of Movie Music
Another informative book worth looking at is by late film composer Fred Karlin, who died in March of 2004:
Listening to Movies: The Film Lover's Guide to Film Music
Use this search to find books, CDs, DVDs on the music of E. Bernstein, J. Goldsmith, and D. Raksin:
80th Anniversary Birthday Tribute to Henry Mancini
Born: Cleveland, Ohio, 16 April 1924
Died: 14 June 1994
This year marks the 80th anniversary of his birth and the 10th anniversary of his death.
I offer this brief tribute to a film composer & songwriter I've admired for over four decades: Henry Mancini.
He was given the name Enrico Nicola Mancini at birth in Cleveland. Even though born there, he considered his hometown to be West Aliquippa, Pennsylvania where he grew up. There he was first flutist in the All-State High School Band and also played for the local Sons of Italy band. After his service during World War II, he got a job as arranger for the Tex Beneke band in the late 1940s. In the early 1950s, he worked on the music staff at Universal-International, composing score cues (along with Herman Stein, Irving Gertz and others) for such '50s sci-fi fan favorites as CREATURE FROM THE BLACK LAGOON and IT CAME FROM OUTER SPACE. Mancini received his first Oscar nomination for adapting the score for THE GLENN MILLER STORY in 1954. Then there was the historic jazz score he composed for the TV cop series, PETER GUNN.
If I may add a personal note here--the landmark jazz soundtrack from the television series PETER GUNN was the very first LP I owned. I still have it in my library. The remastered CD of Mancini's PETER GUNN was Best of the Month for July 1999.
From there he went on to score a series of films directed by Blake Edwards that established Mancini as one the best of the 1960s. Certainly he was the most popular film composer of that decade. He would continue to compose memorable scores, winning 4 Oscars for his work.
Mancini's unforgettable themes and songs are now part of the musical fabric of many people's lives. Just think about these themes: PETER GUNN, MR. LUCKY, BREAKFAST AT TIFFANY'S, DAYS OF WINE AND ROSES, THE PINK PANTHER. And that's only within the space of five years! Many listeners will remember the great Mancini songs--written with some of the best lyricists around, like Johnny Mercer and Leslie Bricusse. Here's just a few of them: "Moon River"and "Days of Wine and Roses" (both Oscar winners); "Dear Heart"; "Charade"; "Moment to Moment." When asked to name his favorite song, Henry Mancini said it was "Two for the Road"(1967). All of these wonderful songs are included on an excellent tribute CD, featuring Henry Mancini's talented daughter Monica, and titled: Ultimate Mancini.
To help celebrate what would have been his 80th birthday, the United States Postal Service has issued a new 37 cent First Class stamp in tribute to Henry Mancini. A copy of that attractive stamp is included on the cover of the CD, Ultimate Mancini. The US stamp campaign was led by Mancini's widow, Ginny Mancini, a former singer with Mel Torme and the Mel-Tones in the 1940s.
On 13 April 2004 a special Henry Mancini Tribute was given at Walt Disney Concert Hall in Los Angeles. Among the performers were: Michael Feinstein, James and Jeanne Galway, Quincy Jones, Stevie Wonder and Take 6, and Monica Mancini. The Alumni Orchestra of the Henry Mancini Institute was under the direction of Patrick Williams. For a full account of this tribute, see the review in The Hollywood Reporter. What a great way to pay tribute to this wonderful film composer and songwriter!
I was very touched by Audrey Hepburn's lovely letter--included on the back of the original 1961 soundtrack of BREAKFAST AT TIFFANY'S.
In her letter to Henry Mancini, she very nicely summarizes what good film music should achieve:
A movie without music is a little bit like an aeroplane without fuel. However beautifully the job is done, we are still on the ground and in a world of relaity. Your music has lifted us all up and sent us soaring. Everything we cannot say with words or show with action you expressed for us. You have done this with so much imagination, fun and beauty.
You are the hippest of cats - and most sensitive of composers.
Thank you, dear Hank.
Lots of love,
Audrey
He was my first film music hero and remains one ten years after he's gone.
I never got to meet him in person, although I did get to see him conduct the Pittsburgh Symphony just a few years before he died. But he was kind enough to send me a signed photo. I included it, along with a signed photo of his collaborator, Johnny Mercer, and with a few bars of "Moon River," on the Dedication page of my book, A Guide to Film Music - Songs and Score.
Long live Hank Mancini's music!
He was a master of melody!
--Roger Hall, 16 April 2004
Additional Information:
If you want to read a warm and fascinating autobiography, get a copy of -
Did They Mention the Music? (Henry Mancini with Gene Lees)
It was first published in Hardback in 1989 and went out-of-print. It has been reprinted in paperback by Cooper Square Press in 2001. As Gene Lees writes this in his postscript about Henry Mancini:
"The world is a better place because he lived in it, but a smaller place because he left it."
This autobiography is must reading for Mancini fans.
Of the many Mancini CDs available, here are a few worth considering:
Music from PETER GUNN (Remastered from the Original, with Bonus Tracks)
The Pink Panther (Remastered from the Original, with Bonus Tracks)
Composer Tributes -
2003
In Memory of...Michael Kamen
It was a great shock to learn of film composer Michael Kamen's sudden death of an apparent heart attack at the ago of only 55. He had a long and productive career writing film scores, as well as arranging and conducting for some of the world's best known singer-songwriters, such as: Bryan Adams, Eric Clapton, Pink Floyd, Sting and Rod Stewart.
He was known especially for his action scores like the LETHAL WEAPON and DIE HARD films. I don't care much for any of those scores. I believe his ROBIN HOOD:PRINCE OF THIEVES had a better score, except for the uninspired song, "(Everything I Do) I Do It For You"--which surprisingly was nominated for an Oscar. For its totally inappropriate use as a music video at the end of the film, I gave the song my first infamous "Golden Ear Muff" award.
But for me, it was Kamen's gentler side that appealed more -- in films like MR. HOLLAND'S OPUS, THE IRON GIANT and especially his poignant TV score for BAND OF BROTHERS.
Being a classically trained musician (he played oboe), Kamen was called upon to compose scores for great events such as the 2002 Winter Olympics and his magnificent symphonic poem, The New Moon in the Old Moon's Arms, for the Millennium. That symphonic poem was first performed by the National Symphony Orchestra, conducted by Leonard Slatkin. It was released on a Decca CD along with Kamen's Mr. Holland's Opus - An American Symphony.
For me, the best eulogy for Mr. Kamen would be to play "Sunset"(track 3) from movement II (The Prayer) in The New Moon in the Old Moon's Arms. This is a beautiful evocation of nature and amply illustrates Mr. Kamen's considerable talent. There's no doubt that "Sunset" comes from his heart, which unfortunately failed him at such a young age.
To quote from another section of his monumental symphonic poem, he was "reaching for the stars."
Michael Kamen was a star-maker and a gentle soul.
He may be gone...
but his music will surely live on.
--Roger Hall, 23 November 2003
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John Williams on Radio
by Roger Hall
In commemoration of the 20th anniversary of my birthday tribute to John Williams on WGBH radio in Boston, I have compiled a CDR each with about 70 minutes of excerpts from these radio broadcasts:
CDR: "John Williams on Radio" - Birthday tribute on 8 February 1983/Sammy Awards, 1989-1994/ "A Night at the Movies"- 1994 Tanglewood Concert, includes a long interview with John Williams
The "John Williams on Radio" CDR is available with the purchase of this book:
Glass on Film
The much anticipated third film in the Qatsi trilogy, titled NAQOYQATSI (from the Hopi Indian language meaning "life as war"), opened in October in New York. The soundtrack by Philip Glass was released on Sony Classical.
I have reviewed this outstanding score for Soundtrack magazine (Fall 2002 issue) where it received a rating of Excellent.
In case you don't know about the previous two films, both directed by Godfrey Reggio and with scores by Glass, here are the titles:
KOYAANISQATSI ("life out of balance")
POWAQQATSI ("life in transition")
Both of these films are now available on DVD, see
The soundtracks for both films and others are available on an outstanding 5-CD set from Nonesuch titled,
Philip on Film: Filmworks by Philip Glass
Composer Tributes -
2002
Hugo Friedhofer
born: San Francisco, California, 3 May 1902/ died: 17 May 1981
Respected film composer David Raksin had this to say about Hugo Friedhofer: "I think he has a better understanding of film music than any composer I know. He is the most learned of us all, the best schooled, and often the most subtle" (quoted from Listening to Music,page 273).
Friedhofer is best known for his magnificent score to THE BEST YEARS OF OUR LIVES, for which he won an Oscar. He said: "I am happy to admit that Copland has been an influence on my work, especially with the score for BEST YEARS...His influence helped me weed out the run-of-the-mine schmaltz and aim to do more straightforward and simple, even folklike scoring." (ibid).
BEST YEARS available on video in two versions: Samuel Goldwyn and MGM. There are also two different DVDs. One put out by HBO Home Video in 1997 has Friedhofer's score on an isolated track, plus an interview with Teresa Wright and an introduction by Virginia Mayo, both of whom starred in the film. The other DVD is from MGM Home Entertainment (2000) and doesn't have the Friedhofer score on an isolated track. Both also have the Theatrical Trailer. If I were to choose between the two, I'd look for the HBO one since it offers more, especially the Friedhofer score on a separate track.
Here are few soundtracks, compilations, videos and DVDs from Amazon.com with Friedhofer scores:
ADVENTURES OF MARCO POLO, THE LODGER, RAINS OF RANCHIPUR, SEVEN CITIES OF GOLD
AN AFFAIR TO REMEMBER (1957) / Video / DVD
THE BISHOP'S WIFE (1947) / DVD
Murder and Mayhem (THE LODGER, 1944)
Way Out West (ONE-EYED JACKS, 1961)
THE YOUNG LIONS (1958) / Video / DVD
Bronislau Kaper
born: Warsaw Poland, 5 February 1902/ died 25 April 1983
According to Fred Karlin's excellent book, Listening to Movies, Kaper was an excellent pianist who began as a songwriter. He came to MGM Studios in 1936 and immediately wrote the title song for SAN FRANCISCO, which is now a standard. In the 1940s he began to compose scores for such MGM films as: BATAAN (1943), GASLIGHT (1944), and GREEN DOLPHIN STREET (1947). Then in the 1950s he continued with THE RED BADGE OF COURAGE (1951) and LILI (1953) - his only Oscar winning score. In the 1960s he composed scores for such films as: BUTTERFIELD 8 (1960) and MUTINY ON THE BOUNTY (1962) - his only other Oscar nomination.
One of my favorite scores of Kaper is from the '50s sci-fi classic: THEM! (1954). There is a generous suite [27:13] from this film (restored by Kathleen Mayne) on a CD titled: "Monstrous Movie Music." It is performed by The Radio Symphony Orchestra of Cracow, conducted by Masatoshi Mitsumoto. The CD producer is David Schecter. This is well worth having if you're a '50s sci-fi fan. For information how to order, go to: Monstrous Movie Music
Sir William Walton
born: Oldham, Lancashire, 29 March 1902/ died: 8 March 1983
One of the most distinguished English composers of the 20th century. Fortunately, he also composed some outstanding film scores as well as symphonies and other works. If you can find a copy of the March 2002 issue of BBC Magazine, it includes a wonderful CD of "HENRY V: A Shakespeare Scenario" (arranged by Christopher Palmer). The narrator is Samuel West. Leonard Slatkin conducts the BBC Symphony Orchestra and Singers, plus the Trinity Boys Choir. If you're a fan of Laurence Olivier's masterful film version of HENRY V from 1944, you'll probably enjoy this "scenario," even in its slightly altered form.
Olivier said about Walton's HENRY V: "I met with William and we talked about it and he knocked out the most fantastic score. Why it didn't win every award throughout the film industry I will never know. It's the most wonderful score ever written." High praise indeed. This year there is sure to be much more of Walton's film music made available, besides the BBC one and those already released on Chandos and Naxos. Check out this music by Walton. Like Prokofiev, Copland and Vaughan Williams, Walton is one of the great classical composers who also composed film scores.
Here are a few CDs you can order which feature Walton's film music:
Music from Great Shakespeare Films (RICHARD III) - conducted by Bernard Herrmann
Romeo and Juliet (HENRY V and RICHARD III) - conducted by Cliff Eidelman
633 Squadron (THE FIRST OF THE FEW)
There are two other composer centennials in 2002 which relate to film music. Both are known for their theater music which were made into film musicals. These two composers are:
Meredith Willson (THE MUSIC MAN, THE UNSINKABLE MOLLY BROWN)
Richard Rodgers (PAL JOEY, OKLAHOMA and many others).
To read about them both, go to:
American Songwriters and Songs
80th Birthday Tribute to Elmer Bernstein
Born: New York, New York, 4 April 1922
It's my greatest pleasure to recognize one
of the most respected film composers working today: Elmer Bernstein.
I've been a fan of his music ever since the 1950's. I'd like to tell a little tale about how I first noticed his film music.
It was way back in 1954 and I was just a teenager who was a TV and movie addict. When school was out in the summer months I would go to the local movie theater just about every week to see the latest comedy, western, drama, musical or sci-fi flick. But it wasn't at the movies that I first heard Elmer's music but on television.
I noticed in the TV Guide there was a sci-fi movie showing one night during the hot summer months. But the movie started at about 1 a.m. on the "The Late, Late Show" on CBS. How could I stay up that late? I knew I couldn't. I was living with my mother, who was a single mom, and it so happened she told me she would be back very late that evening.
So with much anticipation I set my alarm clock and went to sleep. At about 12:45 a.m. I awoke and quickly rushed out to our television in the other room to see if this sci-fi movie would be shown. I thought the TV Guide had made a mistake when it said: ROBOT MONSTER (1953). How could a movie released the previous year be on television so soon? That just couldn't happen. Most movies on TV in those days were from the 1930s and '40s. At precisely 1 a.m. the theme of Leroy Anderson's "Syncopated Clock" starting playing and I began watching this 1953 movie, which said it had been filmed in 3-D. It definitely wasn't shown in that process on TV. The first thing I remember was the main theme. It was such dynamic music. I noticed the music was composed by Elmer Bernstein. At that time I had never heard of him but knew this was very impressive music. The more I watched this movie the more I noticed the music. It stayed with me even after the movie ended - only an hour later. ROBOT MONSTER is now considered one of the worst movies ever made. But I was thrilled to watch this cheaply made flick, with a hunky George Nader and buxom Claudia Barrett wearing a skimpy see through dress. Wow, boy hormones were running wild!
Then mother came home just as the movie ended so I quickly turned off the TV and ran to bed. She came into my room a few minutes later and scolded me for watching television so late. How did she know? Our Dumont television set still had a faint glow on the picture tube after I had turned it off. So I got caught.
But I was thrilled to have succeeded in my little late night adventure. I had watched this silly movie with a busty Miss Barrett and a brawny Mr. Nader fighting the "robot monster." The movie was directed by Phil Tucker, who reportedly became suicidal after the poor box office returns from his cheaply made flick. Today it's a cult favorite. With such a goofy "monster" dressed in a gorilla suit and diving helmet, how could it fail to cause laughter?
But as bad as the movie is, it's still one of Elmer Bernstein's best very early scores. Other film score fans are also fond of this early score. In an interview,* I asked if he had plans to record ROBOT MONSTER any time soon. He said he had no plans to record it. But he is planning to record another fan favorite, KINGS OF THE SUN (1963), for his Amber record label.
*"The Magnificent One - 50 Years of Elmer Bernstein Film Scores" (Soundtrack, No. 78, Summer 2001)
My tale of a long ago late night adventure only points out how long I have admired EB's music. That admiration began with such '50s scores as: THE MAN WITH THE GOLDEN ARM, THE TEN COMMANDMENTS, SWEET SMELL OF SUCCESS, GOD'S LITTLE ACRE, and SOME CAME RUNNING. It has continued right up until the present day.
So for his 80th birthday, I'd like to send him my fondest wishes for many more productive years of film scoring, conducting and recording.
Mr. Bernstein you are "The Magnificent One!"
--Roger Hall, Film Music Review Editor
Here are some Elmer Bernstein soundtracks and compilations you can order through Amazon.com:
Elmer Bernstein by Elmer Bernstein (Denon)
THE AGE OF INNOCENCE (Sony) - Oscar nominee
Great Composers: Elmer Bernstein (Varese)
THE MAGNIFICENT SEVEN (Rykodisc - Enhanced CD) - Oscar nominee
THE MAN WITH THE GOLDEN ARM (Polygram) - Oscar nominee
THOROUGHLY MODERN MILLIE (MCA) - Oscar winner
TO KILL A MOCKINGBIRD (Varese) - Oscar nominee
For more detailed information, go to the composer's official web site:
Happy 70th Birthday to John Williams!
Born: Flushing, New York, 8 February 1932
First, I'd like to send my best wishes for a Happy 70th Birthday to John Williams.
If I may just write a personal remembrance here...
I've long been an admirer of his many great film scores. Back in 1983, I had the pleasure of celebrating his birthday on "Music America," a popular radio program in Boston, Massachusetts.
Among the Williams music I played was: Love Theme from SUPERMAN; "Tuesday's Theme" from BACHELOR FLAT; "The Discovery" from M SQUAD and "Dreamsville" from PETER GUNN; and the Love Theme from YES, GIORGIO (the film flop starring super tenor, Luciano Pavarotti). It was a one hour tribute and was a real pleasure for me to compile and make comments about the music of today's most accomplished film composer.
I sent a copy of my radio tribute to John Williams and about a year later he sent me a cordial letter with an autographed page from the End Credits of E.T. Both his letter and autographed page are found in A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002).
For details about the film music guide, go to:
Music Titles from PineTree Press
--Roger Hall, FMR Editor, 8 February 2002
Note: John Williams has been selected Top Composer of 2001 here at Film Music Review.
To read about him and the soundtracks from last year take a look at...
The Best and Worst of 2001 (as chosen by FMR reviewers)
Composer
Tributes - 2001
Elmer Bernstein Film Festival on TCM
I make no secret of the fact that Elmer Bernstein is one of my five favorite composers working today. You'll have to guess who the other four composers are - or else write me and I'll tell you.
In celebration of his 50th anniversary as a film composer, Elmer Bernstein was a guest on Turner Classic Movies cable channel during the month of May and spoke with host Robert Osborne about his film scores. There were 31 of his scores featured in the month long festival.
Fortunately, I was able to videotape many of them for my archives. This is a sample from EB's last TCM guest spot:
Robert Osborne: "KINGS OF THE SUN...a drama from United Artists in 1963 starring Yul Brynner and George Chakiris. Now I understand this is one of the most requested you've ever written.
Elmer Bernstein (laughs): "I know. I don't understand why. I just don't understand it. BUT, I'm planning to record it next year because I get so many requests for it."
RO: "But it hasn't been recorded until now."
EB: "Never been recorded."
RO: "Now you've been working in the movie industry 50 years, you've done all these great scores and you're still working. What are some of the projects you're working on now?"
EB: "Well, as we sit here, I've just completed the score for a film called RAT RACE 2001, comedy at Paramount, starring Whoopi Goldberg, Cuba Gooding Jr., John Cleese, and Rowan Atkinson. A very funny film, directed by Jerry Zucker...who also directed AIRPLANE.
RO: "And then you have another Martin Scorsese assignment coming up?
EB: "Yes, at the end of the year, I'm doing the music for THE GANGS OF NEW YORK, starring Daniel Day Lewis, Leonardo di Caprio, and directed by Martin Scorsese."
RO: "Where are young film composers today - future Elmer Bernsteins? Where are they learning their craft?"
EB: "Well, I have some proteges who are out in the field, notably Cynthia Miller and David Speer (sp?), my son, Peter Bernstein among them...I must tell you - there's a lot of talent around."
RO: "More talent than opportunities?"
EB: "I believe so, that's the sad part."
RO: "Well, they certainly have an inspiration in you. It's good that you're out there teaching. And we can't thank you enough for being here with us all this month talking about these wonderful movies and your film scores."
EB: "It's been fun!"
And it was fun for me too!
Here is the list of 20 films which EB spoke to RO about during the festival:
"Dramas" (May 2) - TO KILL A MOCKINGBIRD (1962); HUD (1963); SOME CAME RUNNING (1958).
"Early Elmer" (May 4): SATURDAY'S HERO (1951 - his first film score); THE MAN WITH THE GOLDEN ARM (1955)
"Dramas" (Part 2)(May 9): BIRDMAN OF ALCATRAZ (1962); SWEET SMELL OF SUCCESS (1957); BY LOVE POSSESSED (1961)
"Elmer and the Duke" (May 11): SONS OF KATIE ELDER (1965 - one of my favorite western Main Titles); THE SHOOTIST (1976)
"Magnificent Seven" (May 16): THE MAGNIFICENT SEVEN (1960); THE RETURN OF THE MAGNIFICENT SEVEN (1966)
"Comedies" (May 18): THE SILENCERS (1966); THE WORLD OF HENRY ORIENT (1964)
"Westerns" (May 23): THE HALLELUJAH TRAIL (1965); CANNON OF CORDOBA (1970)
"War Movies" (May 25): THE GREAT ESCAPE (1963); THE BRIDGE AT REMAGEN (1969 - another favorite Main Title of mine)
"Historical Dramas" (May 30): HAWAII (1966); KINGS OF THE SUN (1963)
At the TCM web site is an interview with Elmer Bernstein and the complete schedule of the 31 films. For more information, go to: www.turnerclassicmovies.com
On April 24, 2001 at a black tie gala in Beverly Hills, California, Elmer Bernstein received the highest honor bestowed by ASCAP - the Founders Award. When accepting this distinguished award, Bernstein mentioned that "while recently in Spain conducting a concert in Barcelona, I was quietly contemplating the true meaning of my work at a quaint, outdoor country cafe. At that moment, a little girl put a coin in a mechanical horse that began to play my theme from THE MAGNIFICENT SEVEN. It was an epiphany."
For more information, visit the composer's official web site at:
--Roger Hall, 4 June 2001 (revised version)
Note: See my interview with Elmer Bernstein and a review of his CD, "Elmer Bernstein By Elmer Bernstein," in Vol. 20, No. 78 (Summer 2001) of Soundtrack magazine.
In Memory of...
Ralph Burns, 1922-2001
He began as a pianist and composer for the Woody Herman's band. He also worked with pop singers, including Aretha Franklin, Ray Charles and Johnny Mathis. Burns received two Academy Awards: CABARET (1972 - best musical adaptation); ALL THAT JAZZ (1979 - Best musical score). Among his many other film scores are: NEW YORK, NEW YORK (1977); MY FAVORITE YEAR (1982); and LIFE STINKS (1991). He also an Emmy Award for "Barysnikov on Broadway" and a Tony Award for "Fosse" in 1999.
Raoul Kraushaar, 1908-2001
Kraushaar is credited with composing over 100 movies and serials, including a few he didn't compose, like the original INVADERS FROM MARS (1953) - composed by Mort Glickman. Kraushaar worked mostly B-movies, especially westerns for Gene Autry [see Cowboy Song Corral]. He also composed TV themes like "The Abbott and Costello Show" and "The Huckleberry Hound Show," but not ones he's credited for - like the haunting whistling theme for LASSIE - which was composed by Les Baxter.
Jay Livingston, 1915-2001:
Oscar-winning songwriter who teamed up with his college roommate, Ray Evans, and wrote many memorable movie songs, especially while at Paramount Studios. Livingston and Evans won three Oscars for their songs: "Buttons and Bows" from THE PALEFACE (1948); "Mona Lisa" from CAPTAIN CAREY, USA (1950); "Que Sera, Sera" from THE MAN WHO KNEW TOO MUCH (1956) - featuring an appearance by film composer, Bernard Herrmann, conducting at Royal Albert Hall in London. Jay Livingston also wrote several TV themes including BONANZA and MR. ED (he was also the singing voice for the horse in the theme).
[On a personal note: I remember meeting Jay Livingston in the early 1990s at an old-time radio gathering. He was kind enough to sign several sheet music copies for me. He was also pleased to hear that I had been playing some of his movie songs on my radio appearances. I remember him being very soft spoken and shy, but also very witty. A true gentleman.]
Rest in peace, you have brought much enjoyment to millions of listeners, Mr. Livingston...
For a description of his great Oscar-winning song, "Mona Lisa," go to:
Composer Tributes -
2000
Aaron Copland Centennial
Born: Brooklyn, New York, 14 November 1900
The year 2000 marks the centennial of the birth of Aaron Copland (1900-1990), known as the "Dean of American Composers."
Copland didn't compose many film scores, but they were still influential on later film composers. His opinions were also highly valued. For an interview with him in 1980, see Soundtrack magazine, Vol 19/ No 75 (Fall 2000): "Tip To Moviegoers: Take Off Those EarMuffs! Aaron Copland Talks About Film Music." For more info, go to FILM MUSIC REVIEW home page.
Here's the list of all his film scores:
THE CITY (1939) - documentary film shown at New York World's Fair
OF MICE AND MEN (1939) - Oscar nominated
OUR TOWN (1940) - Oscar nominated
THE NORTH STAR (1943) - Oscar nominated
THE CUMMINGTON STORY (1943) - U.S. Government documentary
THE RED PONY (1949)
THE HEIRESS (1949) - Oscar winner
SOMETHING WILD (1961)
To read more about Copland and his film music and CDs, go to: AMERICAN COMPOSERS
Hooray for Benny Herrmann!
In FILM SCORE MONTHLY (April/ May 2000) are several articles about Bernard Herrmann - the Golden Age film composer generally considered the best of them all.
One article by Guy Mariner Tucker is about Herrmann's score for JOURNEY TO CENTER OF THE EARTH.
The other one is by me: "From Hitchcock to Harryhausen - Ten Essential Scores." These are my choices for the Herrmann scores from the '50s which best represent his versatility. Also included is a CD Checklist of Film & TV Soundtracks: "Hear Now, Benny!"
Get your copy and check it out to see how many soundtracks you have.
Note: You can read more in my biographical entry on Herrmann in the American National Biography.
John Williams Lights Up Symphony Hall Anniversary
John Williams was there. So were Seiji Ozawa and the Boston Symphony Orchestra, and Keith Lockhart with the Boston Pops. The occasion was a special anniversary of a Boston landmark, known to millions through radio, television and recordings.
The main events took place on Saturday, October 14, and Sunday, October 15, when two concerts were held to celebrate the centennial of Boston's Symphony Hall - considered one of the most perfect sounding concert halls in the world.
The first night's concert on October 14 was taped for future telecast on PBS. Among the featured performers were cellist, Yo Yo Ma; jazz pianist Cyrus Chestnut; singer James Taylor; and the Harlem Boys Choir (who have sung on a number of soundtracks, including Horner's GLORY).
John Williams opened his segment of the concert with one of his trademark festive pieces: "Sound the Bells." This piece has been used as the theme for the Evening at Pops telecasts. It sounded like it could be from a film score but it's not. It was composed for the wedding of the Crown Prince and Princess of Japan in 1993. After that came The Chieftains, with Paddy Maloney, who played some Irish folk tunes, then excerpts from LONG JOURNEY HOME and the End Credits from FAR AND AWAY, all conducted by John Williams with the Boston Pops. It seems that FAR AND AWAY is one of JW's favorite film scores these days. He has conducted it several times this year, including earlier in an Evening at Pops TV program with music from ANGELA'S ASHES [see "John Williams Goes Irish with the Boston Pops" below]. For this centennial tribute, the playing by Paddy Maloney on penny whistle gave this score's lovely slow theme a special touch of melancholy. This is one of many JW scores that evokes just the right mood for the film.
Another famous example is "Remembrances" from SCHINDLER'S LIST. This very poignant theme was beautifully played by violinist Gil Shaham, conducted by Seiji Ozawa with the Boston Symphony Orchestra. After his performance, Shaham graciously acknowledged Williams who was seated in the audience. He rose and modestly accepted the applause of the performer and the audience. SCHINDLER'S LIST is generally considered one of the greatest scores of the past decade [chosen for The Sammy Award of 1993].
The next day, was the actual centennial of Symphony Hall, which opened on October 15, 1900 with a performance of Beethoven's "Missa Solemnis."
The centennial concert began with Keith Lockhart leading the Boston Pops in the "Festive Overture" by Shostakovich. Next came "Symphonic Dances from West Side Story" by Bernstein, and a really silly medley "Long Live the King! A Tribute to Elvis." The highlights of the concert for me were two pieces by John Williams: "Time Capsule" from his Hymn to New England, and Suite from JFK. The music from JFK is yet another example of his skill in setting the proper mood in the film. How wonderful to watch Williams conduct this highly intricate score in a live performance with the Boston Pops. It sounded better than the CD soundtrack.
After the centennial concert was over, all three conductors came back on stage to be interviewed by Mark Volpe of the BSO. When asked about recording his film scores at Symphony Hall, Williams said he enjoyed it very much and three had been done there so far: CLOSE ENCOUNTERS OF THE THIRD KIND (Special Edition); SCHINDLER'S LIST; and SAVING PRIVATE RYAN. He told how Steven Spielberg wasn't quite satisfied with one section of SPR, so he asked Tom Hanks who was there with him in Symphony Hall, to go down on stage with the orchestra and read the letter used in the early part of the film when the mother receives the news that several of her sons have died in the war. By reading this letter, the orchestra players could have a better idea of what the music was meant to accompany. Williams added that Spielberg liked what he heard in Symphony Hall and hopes to record future soundtracks there.
In his remarks during the interview, Seiji Ozawa took special delight in pointing out the functional "shoebox" design of Symphony Hall. He also said that many concert halls spend more money on elaborate lobbies with large windows looking out on attractive landscapes, but the sound inside the hall isn't very good. Perhaps that's why not many film scores are recorded in concert halls. That's not the case with Symphony Hall, which has a very unglamorous entrance, but the sound inside the hall is really remarkable. Ozawa further commented that instead of ornate crystal chandeliers in Symphony Hall, they have just ordinary light bulbs. And they do just fine in lighting up the place. After all, it's the music that's of primary importance there. And ever since 1980, when he became conductor of the Boston Pops after Arthur Fiedler's death, Williams has been an important part of this historic hall. He is one of the many great conductors - another is his old Hollywood pal, Andre Previn - who have performed at Symphony Hall.
Unlike many film composers today, Williams can easily switch batons from the concert hall to the studio soundstage. His concert and film music are always major events anytime he appears in Boston.
So it was appropriate that Williams take part in this centennial tribute, along with Seiji Ozawa, Keith Lockhart and the excellent BSO orchestra players. Together they all contributed to musically "light up" Symphony Hall with their enthusiastic performances.
That's appropriate since this superbly designed concert hall was built for the glory of music - from classical symphonies to film soundtracks.
--Roger Hall, 16 October 2000
John Williams Goes Irish with the Boston Pops
In his review of the June 5 2000 concert, Boston Globe music critic, Richard Dyer, wrote:
"Irish night was an annual event at the Boston Pops during Arthur Fielder's time, and John Williams, Yo-Yo Ma Ma, and Frank McCourt brought it back last night...the centerpiece was several swatches of Williams's score for the film, ANGELA'S ASHES, bridged by narration by McCourt, author of the beloved book upon which the film was based...Williams's music is masterly - emotional without being sentimental, often as witty and reverential as McCourt's text.
His only overt gesture in the direction of Ireland was to score a prominent part for harp, which was beautifully played by Ann Hobson Pilot to the accompaniment of a cell phone. In Ma's hands the cello carries the depth charge of a human voice and surges with emotion." Dyer than notes that the cellist who played on the soundtrack, Stephen Erdody, flew in from Los Angeles "especially to hear his Julliard classmate." Both were students at the Julliard School of Music in New York.
Dyer also mentions in his review that "Williams chose some selections from his score to FAR AND AWAY, a film that opens in Galway and ends on the Kansas/Oklahoma border."
This Boston Pops concert is to be telecast nationally on PBS stations on July 20.
--quoted from "Williams, McCourt make music, words soar at special Pops," The Boston Globe, Tuesday, June 6, 2000.
Victor Young Centennial
2000 marked the 100th anniversary of the birth of Victor Young, born in Chicago on 8 August 1900. He was one of the most prolific of all Golden Age film composers with over 350 scores to his credit. But he was more than just a composer. He was also a violinist, arranger, conductor and songwriter.
He studied violin at the Warsaw Conservatory in Poland and played in the Warsaw Philharmonic until the beginning of World War I. In the 1920s he was a concert violinist and concert master for various theater orchestras. During the 1930s, he worked a lot on radio for such singers as Al Jolson and Smith Ballew. Young also formed his own orchestra and recorded a string of popular songs from 1931 to 1954, including such film hits as: "The Third Man Theme"; "Ruby"; "Theme from Limelight"; and "The High And The Mighty." He worked for Brunswick and Decca Records, especially with Bing Crosby (who sang the beautiful title song for AROUND THE WORLD IN EIGHTY DAYS).
According to the late film music historian, Tony Thomas: "It was said of Victor Young that melodies were such a part of his nature that all he had to do was sit at the piano and they fell out of his sleeves."
It's true that Young was a great melody writer.
Here are some of his film song hits:
"Stella By Starlight" (lyrics by Ned Washington) from THE UNINVITED (1944)
"Love Letters" (lyrics by Edward Heyman, 1945)
"My Foolish Heart" (lyrics by Ned Washington, 1949)
"When I Fall in Love" (lyrics by Edward Heyman) from ONE MINUTE TO ZERO (1952) - also featured in SLEEPLESS IN SEATTLE (see Sammy Awards for 1993)
"Around the World in Eighty Days" (lyrics by Harold Adamson, 1956)
A few CDs by Joni James of songs by Victor Young available from Amazon.com:
Joni James Sings Songs by Victor Young and Frank Loesser [IMPORT]
Joni James Sings Songs by Victor Young and Jerome Kern
When I Fall in Love - songs sung by Joni James
Film Scores:
Young received 22 Oscar nominations, among them were these film scores: THE DARK COMMAND (1940); FOR WHOM THE BELL TOLLS (1943); LOVE LETTERS (1945); and SAMSON AND DELILAH (1949). He received only one Oscar for AROUND THE WORLD IN EIGHTY DAYS. Unfortunately, it was awarded posthumously, since he had died in 1956.
During his twenty year career from the 1930s to '50s, he composed over 350 film scores, almost all of them for Paramount Pictures. And he wrote for all kinds of films - comedies, musicals, dramas and westerns. Among his early scores were three for Hopalong Cassidy westerns, starring William Boyd - see Cowboy Song Corral
These are a few CDs I would recommend of his film scores:
AROUND THE WORLD IN EIGHTY DAYS. Music Composed and Conducted by Victor Young. MCA Records MCAD-31134. His last score and one of his greatest achievements. A world of tuneful delights.
The Classic Film Music of VICTOR YOUNG - Moscow Symphony Orchestra and Chorus, William T. Stromberg, conductor. Digital World Premiere Recordings of Prelude from THE GREATEST SHOW ON EARTH (orchestration by George Parrish); suite from THE UNINVITED (reconstruction by John Morgan); suite from GULLIVER'S TRAVELS (reconstruction by John Morgan); and suite from BRIGHT LEAF (orchestration by Leo Shuken and Sidney Cutter). Marco Polo CD, 1998. Chosen as Best of the Month for April 1999
THE UNINVITED is available on another Marco Polo CD: MURDER AND MAYHEM
RIO GRANDE. Original Soundtrack recorded in 1950. Conducted by Victor Young.
SHANE - A TRIBUTE TO VICTOR YOUNG . New Zealand Symphony Orchestra, Richard Kaufman, conductor. Includes suites from SHANE, FOR WHOM THE BELL TOLLS, SAMSON AND DELILAH, THE QUIET MAN, Tribute to Victor Young (arranged & orchestrated by Henry Mancini), and AROUND THE WORLD IN EIGHTY DAYS. Koch Classics 3-7365-2 H1, 1996. A wonderful collection, beautifully performed and recorded. Highest rating in MusicHound Soundtracks Guide.
Victor Young - film composer, arranger, songwriter, conductor, and record producer.
Let's raise a glass to this man of so many talents!
For a good background sketch of Victor Young's career, go to: http://info.net/.CAL/ty3.html
Film Music
Announcements
10th Annual Broadcast Film Critics Association
Awards (announced 10 January 2005)
For a list of all the winners, go to:
These are the music nominations:
Original composer -
Michael Giacchino - THE INCREDIBLES
Rolfe Kent - SIDEWAYS
Howard Shore - THE AVIATOR (Winner)
Original soundtrack -
ALFIE
BEYOND THE SEA
DE-LOVELY
GARDEN STATE
RAY (Winner)
Original song -
"Accidentally in Love" by The Counting Crows from SHREK 2
"Believe" by Josh Groban from POLAR EXPRESS
"Old Habits Die Hard"by Mick Jagger and Dave Stewart from ALFIE (Winner)
62nd Annual Golden Globe Awards (for 2004
film music)
For a list of all nominees, go to:
These are the music nominations:
Original score -
The Aviator (Howard Shore) - Winner
Finding Neverland (Jan A.P. Kaczmarek)
Million Dollar Baby (Clint Eastwood)
Sideways (Rolfe Kent)
Spanglish (Hans Zimmer)
Original song -
"Accidentally in Love" from SHREK 2 - Music & Lyrics by David Bryson, Adam Duritz, David Immergluck, Matthew Malley, Dan Vickrey
"Believe" from THE POLAR EXPRESS - Music & Lyrics by Glen Ballard and Alan Silvestri
"Learn to be Lonely" from THE PHANTON OF THE OPERA - Music by Andrew Lloyd Webber/ Lyrics by Charles Hart
"Million Voices" from HOTEL RWANDA - Music & Lyrics by Jerry Duplessis, Andrea Guerra, Wyclef Jean/ Lyrics by Wyclef Jean
"Old Habits Die Hard" from ALFIE - Music & Lyrics by Mick Jagger and David A. Stewart (Winner)
Web Poll -
Favorite Film Music of 1930s, '40s, and '50s
Back in 1997, a web poll was taken to see what film scores would be most popular among those who voted. You can see the results here:
Now seven years later, web readers were again asked to pick their favorite Hollywood film scores and/or musicals. This time it was limited to the Golden Age, from the 1930s to the 1950s. While the voting was very sparse, the results are still worth a look and may be compared with the previous web poll from 1997.
Thanks to all those who participated from the FILMUS news group and special thanks to Craig Anderson and Andrew Feinberg, who included such thoughtful comments--included under various film titles below.
Here are the results of the Top Ten in the order of voting for...
Film Scores:
1. KING KONG (1933) - Max Steiner
Comments: When the scoring of a motion picture actually took on the important role of advancing the scenario, then this use of music became revolutionary and even revelatory. Composers from then on would have to use all their skill and experience to suggest the proper mood to enhance the movie-going experience. --Andrew Feinberg
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[Numbers 2 and 3 were tied in voting and listed alphabetically]
2. THE ADVENTURES OF ROBIN HOOD (1938) - Erich Wolfgang Korngold
Comments: No score has ever had such elan, has burned with a brighter flame, than ROBIN HOOD, then or now. The love music teases you then nets with its magic. A remarkable achievement. --Andrew Feinberg
3. VERTIGO (1958) - Bernard Herrmann
Comments: Nightmarish is a word that comes to mind, but this score is also one of the most romantic ever written. Without question, Herrmann's finest film score. [Andrew Feinberg]
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4. THE BEST YEARS OF OUR LIVES (1946) - Hugo Friedhofer [3 votes]
Comments: Hugo fulfills his promise. A score with everything...nuances that enhance every scene in an equally elegiac and wonderful film. --Craig Anderson
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[Numbers 5-10 were tied in voting and are listed alphabetically]
5. THE DAY THE EARTH STOOD STLL (1951) - Bernard Herrmann
6. KINGS ROW (1943) - Erich Wolfgang Kornold
Comments: Not one of Korngold's swashbucklers but it well could have been. Wood, Howe, Menzies and Korngold. How could this film and score not be good! --Craig Anderson
7. NORTH BY NORTHWEST (1959) - Bernard Herrmann
Comments: This score is definitely more playful and rollicking but it has wonderful romantic elements and extraordinary tension as well. --Andrew Feinberg
8. 7th VOYAGE OF SINBAD (1958) - Bernard Herrmann
9. SPELLBOUND (1945) - Miklos Rozsa
10. THIEF OF BAGDAD (1940) - Miklos Rozsa
Comments: Dazzling would be a good way to describe this score, maybe even kaleidoscopic - a perfect reflection of the exotic nature of the screenplay. With its many songs and choral accompaniment, at times the score seems like a mini-musical. Rozsa's flying themes (the mechanical horse, the genie in flight, the magic carpet) are exhilerating. --Andrew Feinberg
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Composers on the Top Ten list:
Bernard Herrmann = 4 titles
Erich Wolfgang Korngold = 2 titles
Miklos Rozsa = 2 titles
Hugo Friedhofer = 1 title
Max Steiner = 1 title
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Here are ten scores which received just a single vote (listed alphabetically):
ADVENTURES OF DON JUAN (Max Steiner)
THE BIG COUNTRY (Jerome Moross)
BRIDE OF FRANKENSTEIN (Franz Waxman)
CAT PEOPLE (Roy Webb)
JANE EYRE (Bernard Herrmann)
NOW VOYAGER (Max Steiner)
THE RED PONY (Aaron Copland)
RED RIVER (Dimitri Tiomkin)
THE SEA HAWK (Erich Wolfgang Korngold)
THE SONG OF BERNADETTE (Alfred Newman)
Do you have other scores to suggest?
Send your choices to:
Hollywood Musicals:
For a 1999 web poll of songs and Top 20 musicals, go to:
Top Movie Songs and Hollywood Musicals
These are the musicals which received the most votes in the 2004 web poll...
1. THE WIZARD OF OZ (1939) - Music by Harold Arlen/ Lyrics by E. Y. Harburg
Comments: What can you say about this classic that hasn't been said before? Like SHOWBOAT, this is a real musical; the action doesn't stop for the musical numbers, and the numbers help advance the plot. Stothart's underscoring has yet to receive its due. --Andrew Feinberg
Comments: Ties for the best musical with - what else? - SINGIN' IN THE RAIN. Perhaps a slight edge to OZ because the songs were original to the film. --Craig Anderson
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[Numbers 2-10 are tied and listed alphabetically]
2. THE BAND WAGON (1953) - Music by Arthur Schwartz/ Lyrics by Howard Dietz
Comments: Perhaps there has never been such an elegant and romantic moment in film history as when Astaire and Charisse fall in love as they dance to an instrumental version of "Dancing in the Dark." BAND WAGON is also one of the wittiest of the '50s musicals, but don't try to piece together an actual show from the numbers offered in the film! --Andrew Feinberg
3. FUNNY FACE (1957)
Comments: Grace, humor and beauty make this movie a sensation. It is true that the best scenes in the film, Audrey's modeling shoots in Paris, are not musical numbers, but they almost seem to be. "S'Wonderful" from start to finish. --Andrew Feinberg
4. GOLD DIGGERS OF 1933 - Music by Harry Warren/ Lyrics by Al Dubin
Comments: It is a near impossibility to select a favorite Busby Berkeley musical, but GOLD DIGGERS probably has the best songs. The numbers have become legendary: one can never forget Giner Rogers draped in a huge coin ("We're in the Money"), legions of swirling chorines with neon violins ("The Shadow Waltz") and Joan Blondell's dramatic "Remember my Forgotten Man." These images will haunt the viewer forever. --Andrew Feinberg
5. THE KING AND I (1956) - Music by Richard Rodgers/Lyrics by Oscar Hammerstein II
Comments: CAROUSEL may be the better musical, but KING is the better movie. A lavish Technicolor joy enhanced by the brilliant arrangements of Alfred Newman. Many have called Deborah Kerr's dubbing the most perfect in movie history (voice-wise). Some of R&H's best songs, "Hello, Young Lovers," "Something Wonderful," and "Shall We Dance?" stay fixed in one's memory. --Andrew Feinberg
6. MEET ME IN ST. LOUIS (1944) - Music by Hugh Martin/ Lyrics by Ralph Blane
Comments: One of the few actual 'book' musicals of the decade, ST. LOUIS is the epitome of charm. This film sends you out with a warm glow, much of it due to Garland's radiant singing. "Have Yourself a Merry Little Christmas" may be the most forlorn Christmas song ever written, but the viewer never fails to be deeply moved. --Andrew Feinberg
7. ON THE TOWN (1949) - Music by Leonard Bernstein & Roger Edens/ Lyrics by Betty Comden & Adolph Green
Comments: Perhaps one of the greatest cinematic "crimes" of all time is the abandonment of most of Bernstein's original score. Still, the movie is a breezy delight, and the charm of its players makes up for the musical shortcomings. "New York, New York" has almost became an anthem. --Andrew Feinberg
8. SINGIN' IN THE RAIN (1952) - Songs mostly by Nacio Herb Brown and Arthur Freed
Comments: Comden and Green's screenplay, Kelly and Donen, O'Connor, Reynolds, Hagen, Mitchell. Great songs from the '20s and '30s added to a witty screenplay equals magic. I take back what I said about OZ...SINGIN's the best. --Craig Anderson
9. SWING TIME (1936) - Music by Jerome Kern/ Lyrics by Dorothy Fields
Comments: If I had to choose one Astaire/Rogers musical, it would have to be this masterpiece. Some oof the best songs of the era ("A Fine Romance," "Pick Yourself Up," "The Way You Look Tonight") are combined with great dancing ("Bojangles of Harlem" is a knockout) and great humor. Everything works. --Andrew Feinberg
10. YANKEE DOODLE DANDY (1942) - Songs by George M. Cohan
Comments: Brilliant performance by Cagney...brilliant performance by Heindorf re arrangements of Cohan's songs...top flight, energetic, rousing, beautiful film...demonstrates yet again what a talented and eclectic director Curtiz was. --Craig Anderson
To read more about Hollywood musicals, go here:
American Songwriters and Songs
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Recommended Film Music
DVDs
These are some DVDs recommended for their great film soundtracks and/or special features:
Soundtracks -
ADVENTURES OF INDIANA JONES (1981-1984/ 4 DVDs) - Music by John Williams (4th DVD has Bonus Material including "The Music of Indiana Jones")
THE ADVENTURES OF ROBIN HOOD (1938/ 2 DVDs) - Superb release with lots of great extras, especially the isolated score by Erich Wolfgang Korngold and score themes played by him on the second DVD
CATCH ME IF YOU CAN (2002/2 DVDs) - Music by John Williams [Score featurette]
THE DAY THE EARTH STOOD STILL (1951) - Music by Bernard Herrmann [70 min. documentary]
FAR FROM HEAVEN (2002) - Music by Elmer Bernstein [Superb score but not isolated]
THE GHOST AND MRS. MUIR (1947) - Music Bernard Herrmann [Detailed score discussion by Christopher Husted]
GIANT (1956/ 2 DVDs) - Music by Dimitri Tiomkin [he's interviewed on '50s TV program - wonderful stuff!]
MINORITY REPORT (2002/ 2 DVDs) - Music by John Williams [Composer comments]
THE MISSION (1986/ 2 DVDs) - Music by Ennio Morricone [Great score]
ONCE UPON A TIME IN AMERICA (1984/ 2 DVDs) - Music by Ennio Morricone [Commentary by Richard Schikel mentions the composer repeatedly]
PLANET OF THE APES (1968/ 35th Anniversary Edition) - Music by Jerry Goldsmith [Fascinating commentary by the composer]
SUNSET BOULEVARD (1950) - Music by Franz Waxman [Featurette on the music score]
Musicals -
The Great American Songbook - Hosted by Michael Feinstein [Also audio commentary by Feinstein]
HIGH SOCIETY (1956) - Songs by Cole Porter ["Cole Porter in Hollywood" featurette]
WEST SIDE STORY (1961/ 2 DVDs + Screenplay) - Songs by Leonard Bernstein and Stephen Sondheim
YANKEE DOODLE DANDY (1942/ 2 DVDs) - Songs by George M. Cohan, arranged by Ray Heindorf
Bing & Bob in
Hollywood -
A Centennial Tribute to Bing Crosby & Bob Hope
--by Roger Hall
Two of the greatest entertainers of the 20th century were born in the SAME MONTH and in the SAME YEAR. What a fortunate coincidence!
Bing Crosby (born 3 May 1903) and Bob Hope (born 29 May 1903) both worked mostly at Paramount Pictures.
Together they originated the buddy comedy concept with their string of 7 "Road" movies between 1940 and 1962.
For some of their Road movies, their music director was the great Vi