Film (movie) Music

[vandermolen]

Now playing:

[relm1]

This came out today.  I haven't heard it yet but might spin it on tonight.

[vandermolen]

This came out today.  I haven't heard it yet but might spin it on tonight.

I suspect that some of the music is common to the Jane Eyre score as well.

[Dry Brett Kavanaugh]

Now playing:

Very nice!
Plus the cover art is better than that of Marco Polo!

[vandermolen]

Very nice!
Plus the cover art is better than that of Marco Polo!

Yes, I agree Manabu - the same can be said for Waxman's 'Rebecca' as I think you pointed out before.

[pjme]

Inspired by Karls question about the 1951 "Quo vadis", I boldly ventured into unfamiliar territory....

Bronislaw Kaper pulls out all the Rozsa stops for this 1955 biblical melodrama.
Dore Schary,  head of production at MGM, later called the film "the biggest and most embarrassing failure" and "the worst film I ever supported" in his time at MGM.

" . Poor Lana swayed her way through the film but it was a hopeless task. " 

Wiki The prodigal

Comment on YT:
Magnificent sacrifice scene as only Hollywood can make it!  I thought for a moment this was Ivanka's coronation scene with Jared as the sacrifice!

[Roasted Swan]

I suspect that some of the music is common to the Jane Eyre score as well.

I've just read the liner note which mentions Jane Eyre but simply in the context of Herrmann having been engaged with a Bronte story previously.  Nothing in the liner mentions his use of previous musical material in the opera whether from Jane Eyre or others scores.  What this is is in effect a 1 hour condensing of the entire opera.  The scoring and drammatic arc are unchanged although the dramatic personae are limited to Cathy/soprano and Heathcliffe/baritone.  No reason is given why this work should get this kind of "Reader's Digest" condensed-novel treatment.  I haven't listened yet to see how well musically/drammatically it works.  I do like the complete opera but it is a big sprawling listen so perhaps this will make it "easier" for the listener.

One line I like from the liner; "Herrmann was cinema's Master of Anxiety".  What a great and succinct summation!

[vandermolen]

I've just read the liner note which mentions Jane Eyre but simply in the context of Herrmann having been engaged with a Bronte story previously.  Nothing in the liner mentions his use of previous musical material in the opera whether from Jane Eyre or others scores.  What this is is in effect a 1 hour condensing of the entire opera.  The scoring and drammatic arc are unchanged although the dramatic personae are limited to Cathy/soprano and Heathcliffe/baritone.  No reason is given why this work should get this kind of "Reader's Digest" condensed-novel treatment.  I haven't listened yet to see how well musically/drammatically it works.  I do like the complete opera but it is a big sprawling listen so perhaps this will make it "easier" for the listener.

One line I like from the liner; "Herrmann was cinema's Master of Anxiety".  What a great and succinct summation!

Thanks for this insight. I recall that Herrmann sent the LP set of the opera to Bliss who did not seem terribly impressed by it but wrote a courteous response. Tony Hancock asked Bliss to write the score for 'The Punch and Judy Man' but Bliss declined stating that he was too old. Hancock kept Bliss's letter on him until it fell to bits.

[LKB]

A rather special concert took place at the Wiener Musikverein a couple of years ago. While I didn't find it until a couple of weeks ago, it seems this upload has been available on YouTube for a while:

https://youtu.be/LixG82u6fe4?si=MKVDklUERsHBfJEv

I've never felt more envious of a concert audience than I did while watching this straight through.

[Roasted Swan]

Partly prompted by his sad recent passing I listened to this disc;



It really is a tremendous disc as so many of these RPO/Tring recordings were - well recorded, vibrantly played.  But while this disc shares those qualities its real value is in showing the range of Davis' film and TV work.  He doesn't just write in a 'standard' film score manner - he's one of those chameleon composers who is able to change his 'voice' to fit the drammatic requirements.  I'd forgotten his work on French Lieutenant's Woman for example which has an interesting "Transfigured Night" kind of intensity.  The Variations on a Polish Beggar's Theme is impressive and well played here - in effect an extended work for solo violin and orchestra.  Of course the best  known themes - World at War/Pride and Predjudice are wonderful but for me it was the ones  I'd forgotten that impressed.  If you look at Davis' discography its quite extended - a lot under the auspices of his own(?) "Carl Davis Collection" including his ballet and silent movie work - but this kind of overview is rare and none have as wide a selection conducted by the composer himslef.  Copies can still be found reasonably priced online and I recommend it warmly.

[vandermolen]

Partly prompted by his sad recent passing I listened to this disc;



It really is a tremendous disc as so many of these RPO/Tring recordings were - well recorded, vibrantly played.  But while this disc shares those qualities its real value is in showing the range of Davis' film and TV work.  He doesn't just write in a 'standard' film score manner - he's one of those chameleon composers who is able to change his 'voice' to fit the drammatic requirements.  I'd forgotten his work on French Lieutenant's Woman for example which has an interesting "Transfigured Night" kind of intensity.  The Variations on a Polish Beggar's Theme is impressive and well played here - in effect an extended work for solo violin and orchestra.  Of course the best  known themes - World at War/Pride and Predjudice are wonderful but for me it was the ones  I'd forgotten that impressed.  If you look at Davis' discography its quite extended - a lot under the auspices of his own(?) "Carl Davis Collection" including his ballet and silent movie work - but this kind of overview is rare and none have as wide a selection conducted by the composer himslef.  Copies can still be found reasonably priced online and I recommend it warmly.

I remember thinking highly of the Anne Frank music as well RS. Thanks for reminding us of this fine CD - a nice tribute to CD (Carl Davis not Compact Disc  )

[Roasted Swan]

Another Charity Shop purchase has allowed me to complete - for £1 - the three double CD sets (SACD's really as they as DSD discs) of the complete sound tracks to the original Star Wars trilogy;



Several things (many very obvious!!) spring to mind listening to this set;
1) the sheer fertility of Williams' invention is staggering.  Clearly the 'big' set pieces are well known and loved but the music for so many of the shorter cues are very good both as music and in illustrating the given scene. 
2)The Cantina Band cue is pretty well known but hearing it complete, front and centre is such fun
3)The LSO are on tremendous form - I am sure they quickly realised they were recording a "classic film score"
4) Recording a film score is HARD WORK!  The final track on disc 1 runs together various takes of the Main Title.  You can hear the producer say "Take 20" (you get all the takes 16-20) and the orchestra launch into the cue with just as much dynamism, energy and technical brilliance as all the others.  It really is a tremendous testament to their skill and dedication.

A genuine classic......

[relm1]

Another Charity Shop purchase has allowed me to complete - for £1 - the three double CD sets (SACD's really as they as DSD discs) of the complete sound tracks to the original Star Wars trilogy;



Several things (many very obvious!!) spring to mind listening to this set;
1) the sheer fertility of Williams' invention is staggering.  Clearly the 'big' set pieces are well known and loved but the music for so many of the shorter cues are very good both as music and in illustrating the given scene. 
2)The Cantina Band cue is pretty well known but hearing it complete, front and centre is such fun
3)The LSO are on tremendous form - I am sure they quickly realised they were recording a "classic film score"
4) Recording a film score is HARD WORK!  The final track on disc 1 runs together various takes of the Main Title.  You can hear the producer say "Take 20" (you get all the takes 16-20) and the orchestra launch into the cue with just as much dynamism, energy and technical brilliance as all the others.  It really is a tremendous testament to their skill and dedication.

A genuine classic......

Totally agree.  I have so much to say on this series.  Agreed, this was the golden age of the LSO.  Other interesting points worth making to continue your list:

5) LSO wouldn't have been involved if not for John Williams' lifelong friend, Andre Previn, being the conductor of the LSO at that time.  In the 1950's and 60's, they were both jazz pianists and score composers, but Williams was the younger of the two and even performed on Previn's early piano jazz albums.  They stayed close friends till Previn's death.  It is likely Previn's shift from film to conducting influenced Williams when he took the baton of the Boston Pops for 13 years.
6) The Princess Leia theme on the album was sight read in one take after a rough day of scoring action music. 
7) The orchestra was augmented with some interesting instruments such as two pianos, 3 piccolos, synthesizers, 9 percussionists in the Hoth Battle sequence from Empire Strikes Back. 
8 ) Star Wars is ranked as the number 1 best score of all time according to American Film Institute. 

[Roasted Swan]

Totally agree.  I have so much to say on this series.  Agreed, this was the golden age of the LSO.  Other interesting points worth making to continue your list:

5) LSO wouldn't have been involved if not for John Williams' lifelong friend, Andre Previn, being the conductor of the LSO at that time.  In the 1950's and 60's, they were both jazz pianists and score composers, but Williams was the younger of the two and even performed on Previn's early piano jazz albums.  They stayed close friends till Previn's death.  It is likely Previn's shift from film to conducting influenced Williams when he took the baton of the Boston Pops for 13 years.
6) The Princess Leia theme on the album was sight read in one take after a rough day of scoring action music. 
7) The orchestra was augmented with some interesting instruments such as two pianos, 3 piccolos, synthesizers, 9 percussionists in the Hoth Battle sequence from Empire Strikes Back. 
8 ) Star Wars is ranked as the number 1 best score of all time according to American Film Institute.

Excellent additional points - I particularly love the one-take love theme.  That must have been a relief after 20 takes of the Main theme!  Interesting that it is ranked No.1 - is that based on the score as a whole or "just" the fame of the main cues?  As ever with these "best of" lists the criteria for making such a specific judgement seems flawed/fluid at best.......

[relm1]

Excellent additional points - I particularly love the one-take love theme.  That must have been a relief after 20 takes of the Main theme!  Interesting that it is ranked No.1 - is that based on the score as a whole or "just" the fame of the main cues?  As ever with these "best of" lists the criteria for making such a specific judgement seems flawed/fluid at best.......

The AFI is a film institute but highly regarded.  John Williams and Steven Spielberg did a very rare joint masterclass with students there a few years back talking about their collaborative approach in the film making process.  AFI have multiple lists such as greatest films, etc., determined by polls of more than 1,500 artists and leaders in the film industry.  Notice that King Kong (1933) is ranked #13, I would consider this more about the significance of the score in the history of film scoring than the music.  It was the first film to feature underscore, the device still used today. 

I personally don't consider Star Wars (1977) to be John Williams' best score, but it is incredibly fresh and extremely influential.  Not just the sound of space opera for generations but so, so many composers and professional musicians became inspired to their profession from these scores. 

[Ganondorf]

I don't think Star Wars score from 1977 is even Williams's best Star Wars score! That honor goes to Empire Strikes Back. Can't beat Imperial March, Yoda's Theme and Carbon Freeze. Also my favorite SW movie.

[Roasted Swan]

The AFI is a film institute but highly regarded.  John Williams and Steven Spielberg did a very rare joint masterclass with students there a few years back talking about their collaborative approach in the film making process.  AFI have multiple lists such as greatest films, etc., determined by polls of more than 1,500 artists and leaders in the film industry.  Notice that King Kong (1933) is ranked #13, I would consider this more about the significance of the score in the history of film scoring than the music.  It was the first film to feature underscore, the device still used today. 

I personally don't consider Star Wars (1977) to be John Williams' best score, but it is incredibly fresh and extremely influential. Not just the sound of space opera for generations but so, so many composers and professional musicians became inspired to their profession from these scores. 

Just so

[Roasted Swan]

I don't think Star Wars score from 1977 is even Williams's best Star Wars score! That honor goes to Empire Strikes Back. Can't beat Imperial March, Yoda's Theme and Carbon Freeze. Also my favorite SW movie.

Being of an age (sigh....) that saw this movies on their very first release in genuinely big screen cinemas (London's Leicester Square) I agree - Empire Strikes Back made the greatest initial impact of the three - in no small part because it was darker, more desperate.  The opening sequence with the battle on the frozen planet was amazing at that very first viewing.....

[Pohjolas Daughter]

Being of an age (sigh....) that saw this movies on their very first release in genuinely big screen cinemas (London's Leicester Square) I agree - Empire Strikes Back made the greatest initial impact of the three - in no small part because it was darker, more desperate.  The opening sequence with the battle on the frozen planet was amazing at that very first viewing.....

You're not alone to having seen them in the theater(or re if you prefer). 

I should probably watch them again as it's been ages!

PD

[relm1]

I don't think Star Wars score from 1977 is even Williams's best Star Wars score! That honor goes to Empire Strikes Back. Can't beat Imperial March, Yoda's Theme and Carbon Freeze. Also my favorite SW movie.

Empire Strikes Back is the superior score.  It is also structurally amazing how it starts quite optimistically but gets strained as the tension and plot thickens. It is the pinnacle of Star Wars both structurally, dramatically, and musically, the one to which all the others are judged.  But it is not my favorite John Williams soundtrack. There is another.