GMG Classical Music Forum

The son of a beadle, Benjamin Frankel who with "Curse of the Werewolf" in 1960 supplied what is believed to be the first ever twelve-note serial score for a British feature film wrote altogether eight symphonies and five string quartets.

"Melody," he said, "is the ineluctable stuff out of which music is constructed." He would cite no less a man than Mozart as example thereof. And he went on to express his rejection of the notion that serialism precluded any sense of tonality; indeed he considered "atonality" to be "a word blandly taken in place of true analysis."

"In place of true analysis!" That shows profound musical insight does it not! So when it came to ethics he incllined to the Communistical that hardly needs saying. More information about him may be found here (http://benjaminfrankel.org/)

I am a huge admirer of the work of Benjamin Frankel :)

I appreciate how eye-catching is the title of this thread but rather wish that you had at least put Frankel's name in brackets after the title. I say this with the utmost respect :)

The service which CPO has done in making available all of Frankel's symphonies, concertos and film music cannot be too highly praised!

Thank you for the link to the website! I was not aware of its existence.

It is late at night in Great Britain so I shall return to this thread with some further thoughts tomorrow :)

Ah Benjamin! I love this man and his work, the scope of which never ceases to amaze me. It's The Curse Of The Werewolf soundtrack which alerted me to his existence. I've still yet to hear all those symphonies and string quartets. The Concerto For Violin And Orchestra (In Memory Of The Six Million) is astounding, essential listening and a work I hold on a par with Messiaen's Quatuor Pour Le Fin Du Temps.

Count me in too as a 'Curse of the Werewolf' fan and also an admirer of this composer. As a child in the 1960s I was obsessed with Hammer horror films and classic horror films of the golden age (Karloff, Lugosi etc) and regularly dragged my poor father to the 'Gothic Film Society' in Holborn, London. I discovered so many classic horror movies in this way and, more recently, have come to appreciate the soundtracks. 'Dead of Night' was a memorable discovery at this time with its terrific score by Georges Auric. I think that my brother's school friend was Frankel's step-son..I will check.

After consultation of the pages of the admirable Mr. Lebrecht's book on twentieth-century music - something we really should have done before starting this thread - we regret to inform Members of a shadow in Mr. Frankel's background. "Before he turned earnest," writes Mr. Lebrecht, "Frankel was a jazz violinist." Why is it that the history of composition in Britain - specifically Britain and not nearly so much in other countries although there have admittedly been a few examples in Scandinavia and the Low Countries - is so positively littered with such cases? It is really very difficult to take seriously the productions of such persons. We have to be able to trust a man's taste and judgement before we commit ourselves to his music do we not?

He was also in a notorious case sued for slander by Elisabeth Lutyens husband and although exonerated suffered a heart attack as a result. Does any one any longer listen to Madame Lutyens's music? We do not recall ever having heard a broadcast of anything of hers. Mr. Lebrecht tells us she had "numerous composition pupils, including Bennett, Saxton, Bauld, and Elias," but we have not heard anything of theirs either - indeed their very names are entirely unfamiliar!

Of Frankel's eight symphonies it seems from reading what other people have to say that the second is generally reckoned to be the best. We have not heard it but may dig it out and listen to it during the course of the next twenty-four hours.

Listening to the 3rd movement of Symphony No 5. Frankel's music is admirably clear. I like it.

http://benjaminfrankel.org/?page_id=28

I thank you, sir, for adding the name of the composer to the title of this thread :) I am presuming, of course, that it was indeed your good self!

I do not think that we should be unduly harsh on the young Mr. Frankel's early employment in the world of popular music. Benjamin was born in London to fairly poor parents of Polish-Jewish origin. He left school at 14 to be apprenticed to a watchmaker but then took up private music lessons from an American pianist called Victor Benham. Frankel followed his teacher to Germany for 6 months of further study during which he subsisted on an allowance of £1 per month! On returning to London he had to find some sort of gainful employment and earned a living as a jazz pianist, violinist and arranger, working in cafes, hotels and ocean liners. I think we ought to be indulgent towards a teenage boy seeking to make his way in the world before turning to serious music composition :)

I shall pass by your remarks about Elizabeth Lutyens. I have little personal sympathy for her either as a composer or a person. She was however the teacher of Malcolm Williamson, the Master of the Queen's Music, and mentor of Sir Richard Rodney Bennett, the well-known British composer; she does therefore merit some respect ;D

Frankel's first symphony dates from 1958 when the composer was 52 years old. Between 1962 and 1972 he wrote a further seven symphonies in a burst of symphonic creativity overshadowed by the heart attacks which ultimately killed him(No.6 was composed entirely in hospital). In 1969 the distingished British music critic, William Mann, called Frankel "doubtless our most eloquent symphonist".

Frankel's Second Symphony is my own personal favourite among the eight symphonies but each is a very considerable piece demonstrating that symphonies constructed on serial principles do not have to be thorny and intractable! I would very strongly recommend the 1st. 4th, 5th and 7th symphonies as well. The Violin Concerto composed in memory of the Victims of the Holocaust is, in my opinion, one of the finest British violin concertos-a lyrical outpouring of deep feeling and great sensitivity. The influences on Frankel are clearly those of Mahler, Sibelius and Schoenberg-although I sometimes like to think of him as a serial Rubbra ;D

The CPO series of 4 cds of the symphonies played by the Queensland Symphony Orchestra under Werner Andreas Albert is one of the jewels in that distinguished company's crown. Frankel was always better recognised in Germany than in Britain and it is therefore not inappropriate that a German conductor should have rescued such very fine works from undeserved obscurity.

Quote from: Jezetha on December 08, 2008, 03:29:29 PM
Listening to the 3rd movement of Symphony No 5. Frankel's music is admirably clear. I like it.

http://benjaminfrankel.org/?page_id=28

Armstrong Gibbs, Wellesz, Kallsteinius, Frankel.........so much good music to discover, isn't there, Johan? ;D

If only there was enough time!

Quote from: Dundonnell on December 08, 2008, 03:50:24 PM
Armstrong Gibbs, Wellesz, Kallsteinius, Frankel.........so much good music to discover, isn't there, Johan? ;D

If only there was enough time!

I know who is mainly responsible - you, with your terrifying collection!  ;D

And now I'm turning in. (Frankel is good, though...)

Quote from: Jezetha on December 08, 2008, 04:04:03 PM
I know who is mainly responsible - you, with your terrifying collection!  ;D

And now I'm turning in. (Frankel is good, though...)

"terrifying"?? ;D ;D

Oh, come on....... :) :) You have decades ahead of you to enjoy all this stuff!

Frankel wasn't just a jazz violinist, he was an arranger too. He worked with some of the biggest band leaders of the time including Roy Fox and a favourite of mine, Carroll Gibbons. His stint as a player with Henry Hall and the BBC Dance Orchestra was successful enough for him to become Henry's musical assistant. This led to work in London's West End, including a position as musical director for Noel Coward's shows. Then there's the film and television scores. Over 100 including diverse movies such as Will Hay and Ealing comedies, Hammer Horror and The Battle Of The Bulge. Quite a legacy I must say!

I find it a tad dismissive to describe this impressive body of work as being from a time "before he turned earnest". This is no "shadow" nor is it "litter" or something to "regret". It's just another branch of a great talent. One that can easily enrich the other and vice versa. I'm sure there are composers who were average in just one genre. Frankel excelled in more than one and I think that is something to be proud of and applauded.

Quote from: Subotnick on December 08, 2008, 04:10:36 PM
Frankel wasn't just a jazz violinist, he was an arranger too. He worked with some of the biggest band leaders of the time including Roy Fox and a favourite of mine, Carroll Gibbons. His stint as a player with Henry Hall and the BBC Dance Orchestra was successful enough for him to become Henry's musical assistant. This led to work in London's West End, including a position as musical director for Noel Coward's shows. Then there's the film and television scores. Over 100 including diverse movies such as Will Hay and Ealing comedies, Hammer Horror and The Battle Of The Bulge. Quite a legacy I must say!

I find it a tad dismissive to describe this impressive body of work as being from a time "before he turned earnest". This is no "shadow" nor is it "litter" or something to "regret". It's just another branch of a great talent. One that can easily enrich the other and vice versa. I'm sure there are composers who were average in just one genre. Frankel excelled in more than one and I think that is something to be proud of and applauded.

Hear, hear!!! Well said :)

(And thanks for considerably amplifying that aspect of Frankel's career!)

His music is great as is his diversity. That's why I hold him in such high esteem.

Quote from: Subotnick on December 08, 2008, 04:10:36 PM
I find it a tad dismissive to describe this impressive body of work as being from a time "before he turned earnest".

The musical world is the richer for those who pursue (and have pursued) jazz in earnest.

Quote from: karlhenning on December 09, 2008, 04:15:22 AMThe musical world is the richer for those who pursue (and have pursued) jazz in earnest.

We appreciate that the Member is attempting a witticism; but he should take care lest the younger generation take him seriously!

Here spoken by Frankel himself (http://www.sendspace.com/file/a2d6th) is a short introduction to his second symphony. He recites most interestingly the three short snatches of Wordsworth which introduce its three movements; and he explains his purpose in producing the work. It took him only three months so presumably having like Mozart "music in his blood" he was a much faster worker than many.

We do accept the proposition - indicated by one or two Members - that Frankel cannot be blamed for things he may have done in extreme youth to relieve exigencies. This enjoyable second symphony (which we have now heard once) certainly and thankfully contains no hint of the "jazz" - indeed it is very much our kind of music, full of robust manly brass and altogether free of the degenerate wood-blocks mandolins solo oboes prepared pianofortes and violoncellos-with-two-simultaneous-bows that offend the ear in so many productions of the present day.

We were relieved also to find a complete absence of stereo-typed cadences but much awareness nevertheless of stimulating harmonic combination of the most advanced kind. It was difficult to follow the form on a first hearing but we will for that reason return to the symphony with all the more pleasure. The only adverse criticism we have is that at times a redolence of "film music" does linger therein.

I came across Frankel's music a few years ago when CPO began releasing the symphonies. I find his 1951 Violin Concerto "In Memory of the 'Six Million'" quite wonderful. A sound world not unlike Berg's Concerto, you can hear Frankel grapple with serialism yet still maintain a tonal center. It was to be in his later works that he devised his unique vision of serialism, but to me it begins with the Concerto.

Wonderfully recorded on CPO with Ulf Hoelscher and Werner Andreas Albert/Queensland SO.

Thanks for bringing Frankel up in discussion, I now have to do some listening.

Quote from: karlhenning on December 09, 2008, 04:15:22 AM
The musical world is the richer for those who pursue (and have pursued) jazz in earnest.

Agree absolutely.  And we thank the Member for stating it so clearly.  ;D  ;D  ;D

--Bruce

Quote from: Sydney Grew on December 07, 2008, 03:58:19 PM
"Melody," he said, "is the ineluctable stuff out of which music is constructed."

A serialist who would say such a thing must certainly be worth investigating! Thank you for bringing him to my attention.

Regarding the dreaded "jass" music, I believe there is only good music and bad music, regardless of genre.

Frankel also wrote a fine score for "The Battle of the Bulge".

Quote from: Sydney Grew on December 10, 2008, 03:50:22 PM
altogether free of the degenerate wood-blocks mandolins solo oboes prepared pianofortes and violoncellos-with-two-simultaneous-bows that offend the ear in so many productions of the present day.

True. But we regret to inform the Member that the specified composition also requires, in the scherzo, the "dropping of chains onto a wooden box" (or so the liner notes to CPO's admirable recording of this work tell us).

In view of this fact, does the Member maintain his high regard for this piece?

Quote from: Spitvalve on December 12, 2008, 03:28:54 AM
In view of this fact, does the Member maintain his high regard for this piece?

I am sure the Member will remain firm.

He may correct me, if that isn't the case.

Quote from: Jezetha on December 12, 2008, 03:46:40 AM
I am sure the Member will remain firm.

We are sure of that too  ;D

But considering the unfortunate musical factoid highlighted by us in our previous post, we doubt that Mr. Grew will be able to maintain his enthusiasm for Mr. Frankel's symphonic oeuvre. 

Since the member had not actually heard Mr. Frankel's Second Symphony until after he began this thread I would be most interested to know the extent of his familiarity with the music of this most excellent composer :)

After hearing his clarinet quintet on an anthology album of hyperion I was curious about the symphonies.  I've listened to the first disc from the cpo symphony cycle, containing symphonies 1, 5 and May Day Overture.  I do find the music fascinating.  It was only after listening to the symphony and reading the linear notes that I realized that the first symphony was composed using serial techniques.  From my listening and what I gather from reading various things, it seems that Frankel does not regard serial methods and tonality as antithetical, and incorporates elements into the tone rows which evoke a sense of tonality.

In any case, I found the first symphony a great pleasure, with orchestral color used to great effect in highlighting various melodic elements.  The fifth symphony didn't grab me with quite the same force.  I must admit, the May Day overture evoked the strongest reaction.  I take it this one is not serial, and the effective introduction of jazz elements into the melodic fabric added color to a very bright score.

In any case, I look forward to hearing more Frankel.

P.S., can nothing be done about this thread title?

QuoteFrom my listening and what I gather from reading various things, it seems that Frankel does not regard serial methods and tonality as antithetical, and incorporates elements into the tone rows which evoke a sense of tonality.

I think this is not an uncommon approach (not that I am any gauge but this is how I work).  Alban Berg intentionally incorporated tonal aspects in his tone series.  Because avoiding any hint of tonality is always listed as a rule in the "method books" it has taken on more importance than it deserves, and the academic serialists went off the deep end with this kind of thing, but someone had to and now that it's been done there is no need to continue down that path.

I think many composers who still use the 12-tone technique do so in combination with other processes and certainly feel no obligation to adhere to the most stringent ideas about how a 12-tone composition can be written.  But even if one were to adhere to the most stringent application of the 12-tone process - that's okay too.

The proof of the pudding is in the eating.

Quote from: Franco on June 17, 2010, 06:45:40 AM
I think this is not an uncommon approach (not that I am any gauge but this is how I work).  Alban Berg intentionally incorporated tonal aspects in his tone series.  Because avoiding any hint of tonality is always listed as a rule in the "method books" it has taken on more importance than it deserves, and the academic serialists went off the deep end with this kind of thing, but someone had to and now that it's been done there is no need to continue down that path.

I think many composers who still use the 12-tone technique do so in combination with other processes and certainly feel no obligation to adhere to the most stringent ideas about how a 12-tone composition can be written.  But even if one were to adhere to the most stringent application of the 12-tone process - that's okay too.

The proof of the pudding is in the eating.

Having listened to Frankel's first symphony again, I can see something gained and something lost in this technique.  Frankel's version of serial composition allows him lots of melodic invention, with a very free sort of counterpoint where melodies are constantly growing out of each other, conflicting with each other, reinforcing or complementing each other.  A very rich tapestry of sound is generated.  What is lost is functional harmony.  The feeling of tension and release that is so critical to traditional classical music as dissonance resolves to consonance is largely absent.  This is a big void for me, and it means that although I continue to be interested in the sort of music Frankel writes, it just doesn't hit as profound a chord in me.  Comparing to Arnold, who wrote in roughly the same time, Arnold's music is perhaps more direct, less subtle than Frankel, but the dissonant, perverted harmonies that Arnolds cloaks his melodies with have a much strong emotional appeal to me.

Quote from: Scarpia on June 17, 2010, 08:19:12 PM
Having listened to Frankel's first symphony again, I can see something gained and something lost in this technique.  Frankel's version of serial composition allows him lots of melodic invention, with a very free sort of counterpoint where melodies are constantly growing out of each other, conflicting with each other, reinforcing or complementing each other.  A very rich tapestry of sound is generated.  What is lost is functional harmony.  The feeling of tension and release that is so critical to traditional classical music as dissonance resolves to consonance is largely absent. 

This is precisely the feeling I had listening to F's 2nd and 3rd Symphonies. The music manages to be both exciting and monotonous at the same time, an interesting paradox.

Incidentally, the full-blown serialist symphonies I've heard (like Frankel's, or Rochberg's 2nd, or Rautavaara's 3rd) actually sound quite conservative, like Romanticism with the dissonance turned up a notch. Not really radical at all, despite the stereotypical view of Schoenbergian 12-tonery.

I have heard Rochberg's 2nd and other of his earlier atonal compositions but I have not heard any Frankel and was only responding in a general way to the description of his process.  I will no doubt hunt down some of his music in order to hear what he's actually accomplished, but a liberal use of the 12-tone technique can produce very rewarding results, IMO.

I quite like the title of this thread - it's the first time that I've had the association "serial music" and "serial killer".
Seriously though, if not too earnestly, I agree that the Frankel violin concerto is superb - and the witty Serenata Concertante on the disc makes an intriguing filler, since it seems to be one of those dodecaphonic works that disprove the generalisation that so-called serial music can't be humorous. I'm listening to the 2nd symphony now, a gripping piece that reminds me more than once of Lulu - and though I hear no elements of jazz, isn't there a faint reminiscence of Johnny Ace at about 2+ minutes in? It might be described as the clock motive, and returns a few times during the work (combined with an allusion to the Dies Irae in the slow movement, I believe)... I would assent to Franco's point that "a liberal use of the 12-tone technique can produce very rewarding results" - and remind you of the symphonies of Humphrey Searle, also not to be disdained. By the way, in both of these composers I hear tension and release all the time, it's just achieved by different processes.

Frankel has come to my attention over the past year, but I did not pursue any of his music until now. I bought the Cpo recordings of his symphonies and concerti and also bought the Naxos recording with The Curse of the Werewolf. I'm looking foward to listening in-depth to this composer.

A year ago the word serial would have sent me running for cover, but now, as I have learned from Berg, Alwyn (his Symphony No. 3 is an acknowledged 12-tone classic), and Dallapiccola that this method of composition can be as lyrically expressive as tonal music.

Thanks, Sydney, for posting this. Frankel is another forgotten English composer - he's been forgotten by me, at any rate! I bought the CPO CD of Symphonies 7 and 8 at the turn of the Millennium, don't think I ever got round to listening to it, and forgot - until now - that I had it in my collection! I'm writing this as I listen to A Shakespeare Overture from the same disc.

Yet another English composer (along with Hubert Parry) whose music I will be re-visiting over the next few weeks, thanks to this estimable Forum!

Listened to Frankel's 2nd symphony for the first time today.  The impression is consistent with his first symphony.  A wonderful melodic invention, and really creative use of the sonorities of the orchestra.  The high point is perhaps the menacing second movement.

A little bonus on the cpo disc is a 4 minute recording of the composer introducing the symphony.  The work was written in 1962 and the composer died in 1973, so it is clear when, approximately, the recording was made.  But, oddly, the release contains no information on it.  Presumably it was recorded for a previous recording of the piece.  In the introduction Frankel describes his inspiration for the work, and for the second movement he gives a scenario out of a science fiction movie, giant creatures pursuing humans across the landscape.  Odd.   :)

Just noting all the Hammer films being shown on TCM this month. I think I have distilled the typical Hammer "theme":

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

pause

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

Right? ;D

Quote from: snyprrr on October 23, 2010, 08:40:18 AM
Just noting all the Hammer films being shown on TCM this month. I think I have distilled the typical Hammer "theme":

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

pause

Bb A Ab
Bb A Ab
Bb A Ab
Bb A Ab

Right? ;D

It seems to me you take particular pleasure from the thought that no one here has the slightest idea what you are talking about 95% of the time.

Frankel is the first atonal composer that I liked and felt had emotional resonance.  Good to see that he has his own thread. 8)

Thanks to this thread I know now that there is a bargain box set... I might have to buy. :)

Quote from: Scarpia on October 23, 2010, 08:58:45 AM
It seems to me you take particular pleasure from the thought that no one here has the slightest idea what you are talking about 95% of the time.

Seriously? No one can read that?

au contrare,...clarity over frustration!!! Obviously I'm not doing my job. :(



The three notes above go downward chromatically, which IS the theme Hammer uses in a lot of it's films to denote excitement. Anyone? ???

Quote from: snyprrr on October 24, 2010, 08:50:04 AM
Seriously? No one can read that?

au contrare,...clarity over frustration!!! Obviously I'm not doing my job. :(



The three notes above go downward chromatically, which IS the theme Hammer uses in a lot of it's films to denote excitement. Anyone? ???

Who is Hammer and what does it have to do with Frankel?

Quote from: Scarpia on October 24, 2010, 09:12:09 AM
Who is Hammer and what does it have to do with Frankel?

Hammer studios produced Curse of the Werewolf which Frankel wrote the score for.  They were best known for making ripoffs of the universal classics, their best known efforts are the Christopher Lee Dracula movies.  Snips is still silly, but he was technically on topic.

Quote from: DavidW on October 24, 2010, 09:14:36 AM
Hammer studios produced Curse of the Werewolf which Frankel wrote the score for.  They were best known for making ripoffs of the universal classics, their best known efforts are the Christopher Lee Dracula movies.  Snips is still silly, but he was technically on topic.

Fair enough.

There is a good general point to be made that people enjoy the "scary" musical effects in horror films which are actually borrowed from Schoenberg and his ilk but would run a thousand miles from concerts of dodecaphonic music full of the same kind of effects. Apparently they are less enjoyable when divorced from visual images. I don't need the latter as accompaniment myself but they often come unbidden when listening to serial music
To follow up the game of making connections between the apparently unconnected: who is the link between Frankel and Britten?

Symphony No.2 is very fine indeed. I'm surprised that I didn't realise just how good it was before, dark, brooding and introspective. 'The Curse of the Werewolf' soundtrack, which I love, has encouraged me to listen again to his symphonies. Time to revise this thread after eight years of hibernation.

I had his score to Battle of the Bulge on CD, but found it quite dull as stand-alone music and sold it on.  Apparently I don't have any Frankel in my collection now, so perhaps I'll give the symphonies a listen on Tidal.

[asin]B00004U932[/asin]

Quote from: Daverz on June 20, 2018, 10:48:32 AM
I had his score to Battle of the Bulge on CD, but found it quite dull as stand-alone music and sold it on.  Apparently I don't have any Frankel in my collection now, so perhaps I'll give the symphonies a listen on Tidal.

[asin]B00004U932[/asin]

'The Curse of the Werewolf' (Naxos) is worth exploring.

Quote from: vandermolen on June 20, 2018, 10:58:31 AM
'The Curse of the Werewolf' (Naxos) is worth exploring.

I'll check it out.  I'm very fond of the Salter & Skinner horror scores.

[asin] B000004644[/asin]

Quote from: Daverz on June 20, 2018, 11:17:43 AM
I'll check it out.  I'm very fond of the Salter & Skinner horror scores.

[asin] B000004644[/asin]

Must re-hear that one which I do have in my collection. Clifton Parker's 'Night of the Demon' and Georges Auric's 'Dead of Night' remain two of my favourites.

I like his First Symphony very much - don't know the others. It's atmospheric and brilliantly orchestrated with the more animated sections almost recalling Bernstein! Apparently, Frankel often uses 12-tone procedures in his music, but I certainly can't tell - it's perfectly accessible to me.

Frankel's string quartets are really good, but I haven't heard any of his other chamber music.  I like his writing a lot, but am not interested in the film music or orchestral works.

Quote from: kyjo on June 20, 2018, 02:03:14 PM
I like his First Symphony very much - don't know the others. It's atmospheric and brilliantly orchestrated with the more animated sections almost recalling Bernstein! Apparently, Frankel often uses 12-tone procedures in his music, but I certainly can't tell - it's perfectly accessible to me.

Must give it another listen to. I have really enjoyed getting to know Symphony 2.