d » - ~ s » J : ‘ AN D T v U S I C J . z Q , M : 3 " ) " r 5 u v 9 g mV a l q i ublica t ion of the National Film Music Council W RK EAST S TH STRE ET NE O 28 N. . 7 , Y , Y FI LLMORE 8 - 5 5 02 FA LL 19 5 6 “ e VOLUME

LUST FOR LIFE (w ith scor e ex ce rp ts ) THE B A CKGROUND MUSI C OF WAR AND PEACE RI CHARD I I I THE B A LLET OF ROMEO AND J ULI ET WI LLI AM WA LTON THE LI GHTER FI LMS THE ROMANCE OF TR A NSPORTATION IN CA NADA ( w ith scor e ex cer p t s ) 16m m FILMS Ma r i e H a m ilton THE MUSI C TRACK FOR ODE ON A GRECIAN URN H a r r y Robi n CREDITS IN CURRENT RELEASES THE STATE OF MUSI C IN TELEV I SION H a r r y Robi n FI LM AND TV MUSI C NEWS

M MUS C CONTENTS : O UME XV 1 5 5 - 1 6 FIL I V L , 9 9 5

: K D a s a s n en Va h in LUST F R Cov e r irk ougl V i c t n Gog O LI FE .

il h i i i i Op i n ion s e xpr essed in s ign ed a r ticl es a r e n ot n e cess a r y t ose of t h e Na t on a l F l m Mu s c Cou n c l .

Pu b sh ed b t h e N on F m Mu s c ou n » Y . P en m m n C c 1 1 E s 8 7t h New o 28 N . es d W H o ce li y ati al il i il , a t Y rk , r i t , illia a ilt ; Vi P s d e n a n d Ed ' o M e L. H m on S W F h h n n h c e G ce . M bee . e ss u s e c e oc c s o bu e s ee re i t it r , ari a ilt ; e r tary , ra a iv i e a y ar wit a i al ll ti , t r d l n d en B o s a c s. c ssues 2 0 co e e l ar fifty t a k i ( p i s ) s ven doll a r s pl u s po stag e. LUST FOR LIFE

Mikl os Rozsa

- im r ess ioni St ic S Hollywood has n Ot exacdy achi ev ed world fame for in fluence of Pissarro and the neo p eurat )

film e c r s c l th e i D s , the h istorical accuracy of its biographi s , as the carefree or esponds mu i a ly with mpressionism of ebu sy manner in which it often juggles hi storical fact s with sheer although Van Gogh hi mself could n or have kn own his music . u A i T - five a - fantasy to suit its own dramatic p rposes is its ch lles heel, here is a twenty ye r time lag between pictorial and Th e firsr n c ST FOR i . where it can be and usual ly is att acked . LU musical impression sm important impressio isti ’ LFE n i or cheStr al work ( inspired by the symbolis tic poet Mall arme ) I , however , is a notable exceptio It is most grat fying ' " ' ' ” h n or D s LA r es - d u n F ha d fir sr to see Hollywood come up with a film biography , w ich is ebu sy s p midi aune , which its ' ' only captures the dramatic highl ights of a great pain ter s performance in 1894 four years after Van Gogh s dea th . t h abso H t h e m l c s e , e t ragic li fe but also with painstaking research remains owever, e otiona ism of the musi al fin de i cle har acr er iz a an d or ch es rr al D lutely factual an d correct on hist orical data and c daring harmonic palette of ebussy corres Th s r i s i t Van tion of the dramatis personae . i was based on I v ng pond to my m nd, at least with the early s yle of ' o G t Stone s now wor ld fam ous novel of the same name , written ogh , and gives a point of departure for fur her develop

l a N C hi s S , . for the screen by the bri li nt orman orwin , produced by ment as own style tarted to develop too H ns a man of impeccable taste , John o em and directed T n m l u The r e here is an i teresting si i arity , which sho ld be by an artist of his own merit Vincente Mm elli . w t i mentioned here, bet een the short , troubled , ecs atic l ves sul t of the collaboration is a moving dr a a of the tormented m h G H W and creative met ods of Van ogh and ugo olf , who life of Vincent Van Gogh . B l - . ' were contemporaries orh were more or less se f taught fir sr From the composer s point of view , the problem u f in artists , fighting nsuccess ully for recognition, existing l a was as it a ways is with historic l subjects to find a un n osr S n - i l poverty , highly tru g, hyper sensitive , rritable , que St . , suitable yle In concert music one always expresses onese f r ulous ~ a i t , eccentric, over emotion l ; lead ng lives of ex reme r l fil m its but in d amatic music, and especial y music, where ca e n exaltation , when masterpieces me into b i g in the short an d most important function is to serve help the drama, es r period of time ( as produced in a trance ) or of utmost

S . each subject , each period , needs its own tyle In a present c h c deje tion, w en long periods went by without produ ing can o day film drama the composer safely use his own c ntem B losr ea in n n an ything . orh their r son, were confined i sa e orar i l l appr op p y idiom, as th s wil undoubted y be the most s both m su asylum , and tried to com it icide , in which only t u ( if l 7 5 ria e , but for a period pict re even its setting is on y The a s h V u c . an Gogh s c eeded par llel tops ere. however , as be years a o ) a suitable style has to found , which forms a g Van Gogh was a more progressive artist who br oke entirely h t he l homogeneous unity wit pictoria happenings of the h W l new ground , w ereas o f , under the spell of his hero B a h d o . ph toplay erlioz writes somewhere that with e c rama W n or worship of agner , did develop a new harmonic or t h ad S ' tic subject he at acked , he to change the tyle of his The G melodic language . key word of Van ogh s entire T al musical expression . hat in spite of this, his own person i or o a creation is subject ive emotional sm emoti n l subjectivity , o St idiom always came t hr ugh goes without saying, as a rong and in the pictur e this had to be u nderlin ed and comple r and in dividual personality will always shine th ough , no meri ted m usically . matter how it is disguis ed . w i The music that Vincent Van Gogh knew and liked was Nothing as further from my m nd than to imitate ’ - L - B r D t t h i the high romanticism of the Wagner iszt e lioz school ebussy s s yle for is picture, but the t mbre of this score is

H a F h t u . The and its numerous satellites in France and German y . is e rly that of rance at the beginning of t is cen ry main an d S h ( m usica l themes of the pict ure are the foll owing : impressionistic pointillistic tyle , owever , under the

' The t heme of yearni ng an d seeking which cha r acterizes musically Vincent s eterna l

can fir St . search for the infinite and unr eachable . It be heard under the credit titles

( Ex.

t w 1 9 56 Cop yrig h Loe s Inc. ht l e w 19 Copyrig o s In c. 56

The theme of achievement , developed from the second half of the first theme, tries to convey the beauty and contentment of creation .

( Ex.

1956 Cop yrig ht l oe ws l n c. w Cop yrig h t l oe s Inc .

’ h t c The theme of brotherly love, w ich re urns with every narration by Vin ent s '

l h s ll . brother Theo as he reads Vincent s letters , is p ayed wit a olo ce o It expresses the

l s h r . serene , unse fi and unique relationship of the two b others

( Ex.

7 , 7 I d

t w 19 5 6 Cop yrig h Loe s Inc .

The theme of Sien ( Chr istine ) t he woman of the Str ee ts with whom Van Gogh t wo s as she l l lived for years, is no talgic and tender , for a while meant fu fi lment and

( EL 4

i h t w 1 9 56 Co pyr g l oe s Ixc . ht w 95 Copyrig l oe s In c. 1 6

- Gauguin is characterized musically with a self assertive and determined theme , as ,

h . in contrast to Vincent, he was selfish , rut less and knew exactly what he wanted

( Ex.

t l w 19 56 C opyrig h oe s In c.

' Postman Roulin s friendly and jovial character is underlined with a bassoon solo .

( Ex.

9 5 6 C opyrig ht l oe w s In c. 1 Kirk Douglas as Van Gogh with Niall MacG i n n is

as Post ma n Rou lin .

The fir sr madness theme, a distorted variation of the theme of yearning, appears after a quarrel between Van Gogh and Gauguin . It gets fully developed la ter in scenes such as the ear - slas hing incident and in th e ens u ing scenes of his confinement of the asylum

- - h Dr . St . R t e n G O G of emy and sa atorium of achet at Anvers sur ise , where Van ogh Th ended his tormented life . e final scene brings back the theme of achievement in a more t ra nsfigur ed mood .

( Ex.

w 19 56 C op yrig h t l oe s In c .

L - - M A D . D c LUST FOR FE MG . I Kirk ouglas , nthony Quinn ire tor , Vincente Min

s c R s . nelli . Mu i , Miklos oz a Copyrig h t 1 95 6 Pa ra m ou n t Picture s C orp .

Natasha ( Audrey Hepburn ) and Andrey ( Mel Ferrer ) at the Court Ball .

In composing the background mus ic for WAR AND THE PERSONAL MOTIVES PEACE I followed the two concepts of the Story as they ’ s u c T s I composed fir t of all the m si for the dances in the develop in ol toy s novel , constantly alternating, or over

C B . episode of the great ourt all A polonaise , a waltz and a lapping and flowing together , thus giving a certain rhythm h out t he but is Scorc dance stand among dances , the waltz to the entire narrative and establishing its musical structure . t he T doubtless the most important piece . In a general way hese two concepts , already so clearly expressed in the title c s t he C u B t he u t h e film dan es compo ed for o rt all have flavor of early and of co rse reflected in , are illustrated on the one h Romanticism ; they are written in a style wh ich may be hand by the motives of the private lives , the relations ip w defined as Schubertian with its delicacy and guileless ness bet een the protagonists , their individual feelings and ex Th Rus ) . e per ien ces; motives that somewhat broadly may be named ( interspersed with sian themes, however waltz " " which Natasha and Andrey dance together during the grande s s . On O peace motives or per onal motive the ther hand ,

é c t he h S h . s a s soir e arries w ole tory of t eir love It alway p they are illu trated by the motives of public life , or history s h t he as a h c as pear again t roughout film int or remembran e with its great feats of arms , of reality objectively told in " " h s s historic documents; these we m ay call the war motives or w enever their love become tronger or weaker or flares " A c sh u it s . t afre , p to tragic end a ertain point when environmental motives . N sh s T s ata a gets ready to flee from Mo cow with her family his distinction , clearly pre ent in the book and in the s t h e sh e film with the alternate success ion or converging of t he two and has a la t look at gown wore at the grande h s s s soirée the waltz is taken up again and developed throug themes , was the fir t and fundamental ba i for the work

u ou t s u . of the m s ician . the entire eq ence s In contrast with the theme of the waltz ( which stand of the abnegation and patience of a whole nation, and for W t h e s i o E , th s reason the march l ads over to a counterpoint rein for uropean, estern spirit ta te of an aristocracy inclined to conform with t he musical fas hion of the period ) forced by the chorus whi ch join s with a song of almost there is the theme of the tune sung durin g the sleigh ride . religious passion and austerity . ' It s a simple little tune built on melodies which are typical When the camera moves from the marchi ng soldiers T t of Russian folk music. here already exis many famous R to the windows of the ostov Palace, this march is followed R pieces of music, in which ussian folk songs were used more by an0 ther heroic melody : the same m at ch which later We n or less in their entirety . need only thi k of the many r t A l " " accompanies And ey to the bat le of uster itz and follows G F es compositions of the Petersburg roup of ive , and him ( sung to the sounds of balaleikas and thus becomin g a eciall fir sr . p y of the creative period of Moussorgsky More symbol of sadn ess and nostalgia ) to the little village where l S recent y, travinsky quite frequently used in his composi he dies . tion s motives and airs whi ch the peasants and litt le people The r R s with march of the pa ade which opens the action of have been singing in ussia for centurie , of course the l l W ffi the film also closes it musical y with its joyfu crescendo. It elegant orchestration peculiar to him . hat was di cult " N o i for me therefore was above all to find melodies which had submerges even the remembrance of the ap leon c r fir sr - rhythm which had rung th ough the very sequence; n or yet been used by composers of world wide fame , such o B R - DOt with its nore of vict ry it brings out the contrast between as orodin or imski Korsakov, and would be recog " " the two melodi es . n iz ed as original themes created by these composers . . Th e On e passage in the sleigh ride song takes over the be background music for the battles reaches the same The i i i n t . ginning of a Russian folk song such as it is; t he song r eflecrs emotional nte si y battle of Austerl tz is dom nated o h Ru by passages from the Marseillaise among the merged motives thr ug out the character of the ssian people in its color " " "

th e N n t . i r of the march of parade and the apoleo ic rhy hm ful l vely moods, which at times tu n soft and sweet in During the battle of Bor odino a sudden rest in the music melancholy abandonment or unexpected tenderness . It also l o enlivens the festive atmosphere in the Rostov home ( es fo lows the scene in which the infantry tro ps of the two ’ h t h pecially in the sequence of Nikola y s return from Austerli tz opponents march toward the enemy to the menacing r y m s l th e of the drums . It is from this rest which intensifie the fore is deve oped in the hunting scene , and later accompanies t t t F boding of the oncoming catas rophe hat a mo ive arises , encounter of Petya with the rench drummer and , right t he T r film a cry of war with the rage to exterminate , hatred and the after that , his death . owa ds the end of the the waltz motive and the sleigh ride song merge in a melodic mixture irrational violence of men who are close to the bli nd fury of

t h e beasr . a which clearly symbolizes the fus ion of the artistic with the At times louder , at times lower , but lways tem esruous vehem p , this motive accompanies the fight with its popular spirit . ns an d ence and ferocity , the charges of the dragoo the frenzy Another leitmotiv of the film among the personal " of the artillery soldiers stationed at the guns ; the anguish of o N a m tives is the melody which atasha plays on the pi no t c l ’ the infantrymen on the at a k and the turmoil of the dead y s R when Pierre come back from the ostov s after his quarrel l a t hort eSt . n battle at its ter whe the bat le is over , the i H The - " w th elene . piece bears all the marks of pre tomanti motive of the heroic march arises again in the scenes of cism ( it may remind the listener of certain passages in x the wounded and dying, now e panded , however , in a slow Schumann at his most candid ) and remains associated with tempo an d played in a sa d mood of lamen t an d pain . t he idea of Pierre in its variations and thematic recurrences . It is this motive which is picked up again in the final se Th e background music for the battle on the Berezina quen ces of the film when on the screen the promise of a is a crescendo of the orchestra over an extremely expanded a l e a variation of the M rsei lais , the music l texture of which new life together arises for Pierre and Natasha . s s i the s has wide laceration , ga hes through wh ch come sound A traditional gypsy melody which the orches tra varies Th of the rhythmical mournful cadenzas of a funeral son g . e u t he gaily , vividly nderscores the whole sequence of orgy at theme of the famous anthem becomes more clearly recog T ’ the D o . olob v home his motive is drenched with frivolity , niz a ble when the flags of Napoleon s army are burned on the excitement and insinuations . Much of its spirit is found ban ks of the river : the last sign and the las t voices of the : t e again in the story of Anatole for instance, during the la G é ’ col pse of the rande Arm e and the end of a gigantic ce t ion Sc p at Anna herer s house , in the sequence in which am bition o sedua ion N Anatole tries his p wers of on atasha, and again ' The WAR AND E CE in the scenes at Dolohov s home shortly before the attempted background music for P A was l s in a rape of t he young daughter of the Rostovs . written main y to create an atmo phere authentic loc le T i t ha d li e and period . h s quali y of authenticity to in the i t n an d character and sp rit of the music, while orches ratio THE "ENVIRONMENTAL MOTIVES form were given the benefit of modern orchestration and l musical eloquence . Purely historica background music For i the opening scene of the film , wh le the map of would , in any case , never be able to have a grip on modern ’ N R ss s n ot . B s s apoleon s campaign in u ia appears on the screen, I audience , at least on the average audience e ide it composed a very rhythmic melody which is interrupted by wou ld have been difficult to fin d in historical scores the type l A d . ll h s s film obvi and interspersed with the rol of the rums t rough the of mu ic to fit all the ituations in the , in which , Ma rseil ous l t he film n or u h film this melody , enriched by fragments from the y, the makers of were concerned so m c a N as i laise , accomp nies the advance of apoleon , if to mark its with recreat ng the conditions of the period to the letter l ss . s a h s l frightfu ne As soon as the action begin , the p rade of as wit haping them in ine with the ideas we have of them ' l z l W A exander s troop departing for Austerlit is given particu ar now . herever poss ible the background music has als o " : c t h e weight by a triumphal march that rises like a hymn ; it is been restored in its form, however as for instan e in R s c all in fleCt ions f typically ussian in character , expan ive, fluent , with an songs and dances whi h have the and e fects n abunda ce of pa thos whi ch slowly recedes and ends on a of the instruments typi of the s tage music of t he early

. T Ru h nore of solemnity his is the real theme of ssian heroism , nineteent century . - - WAR AND PEACE Ponti De Laur en t n s; Paramount . r D Au H H Fer et . drey epburn , enry Fonda , Mel irector , King

C F . N R . Vidor . Music, ino ota onducted by Franco errara

u S T . Record: War and Peace . M sic from the ound rack T s h Columbia C L 930 . hough the e score hig lights cover f h widely dif ering episodes in the film , t ey are all marked by ’ Nino Rora s fluency of expr essipn and the Strong melodic Th e line that r eflecrs his ability as a songwriter . album has " a dozen excerpts from the score themEs as diverse as Th e " " ' " " ' B N h W N Re attle of Austerlitz , atas a s altz , apoleon s ” " " ’ R s The O . . treat , rgy A study of Mr ora s notes on the mu ic will add considerably to listening interest .

War Sheet Music : The Maid of Novgorod ; Nino Rota . and

F u u C . N R W S . Peace; ino ora , ilson tone amo s M sic orp , w Ne York .

The Retrea t from Moscow .

o h t 19 56 Pa a m ou n t P ct u e s C p yrig r i r Corp .

THE BALLET OF ROMEO AND JULI ET

Al ber t J .

’ The THE B LLET OF RO EO AND Pr okofiev s S film music for A M seen ballet on the tage , it is hard to say to ex

- l h UL ET n . C acr h J I is , of course, tailor made for the a ion omposed y w at degree the film has created , rather t an merely for movement movement of every conceivable kind recreated , the looks and the sound of the work . W as a . it was, after all, written a b llet hether it is the leaps , W t he hat one can say , is that film gives us a chance a the pirouettes , the long, easy glides or simply the p nto t he u t he h ' to see how m sic Prokofiev wrote fits c aracters and mime t h at it h as been scored for Serge Pr okofiev s music ‘ ’ ‘ c T. B W a tion to a In the case of the olshoi production , the is ballet music of the first order . hat is even more import in t r oducd on ' narrator will leave off with his , and then the in B h T ant, the case of the ols oi heatre s production for the character of Mercutio will enter in just the way we have been h h as n or screen , is t at the ballet simply been filmed on a H . e lead to expect is mischievous and energetic, and he is R t ’ stage . ather than being the exac reproduction of a Staged R . The also omeo s friend music, as a result, is taunting and t he ' ballet , it is a ballet film . Freed from the restrictions of h h twists here and t ere , and , accompanying as it does the ero s u u It s ’ prosceni m arch , the ballet, as a res lt, takes flight . cut f t h u e . loose wherever the movie director 's imagination has wanted ally , o fers some of score s most beg iling passages Street - figh t s that rumble across the scene are filled with the 0 it to go , and with it goes every n te , every measure of ' clashing of swords against swords , and with the darting k Pr o ofiev s music . about of quick - footed men in arms and so t he mus ic h u u . T The music heard on the sound - track rather than t mbles vigorously into the auditori m hen t ere is the

u u G U . us being t he sound we hear from the orchestra in the pit m sic for J liet , played by alina lanova J t as Juliet B u t he Sh s . is center of attention in almost any version of akes also is pre ented with new abandon y t rns elegant , witty , '

she s t he . n 0 t peare s play , dominate action and the music here and tender , that music fills the theatre with appealing if

A s - u U particularly memorable tuneful phrases . And it fills the clo e p of Miss lanova lets one see a lovely blonde crea u t he s h , , theatre always with accents of r ythm . t re with dre s the features the ethereal air of one of t h e most serene characters in a work of art by one of the old s It is becoming more and more obvious today that the e An d u masters like Rubens . the m sic that goes hand in hand s h L accent are clearer w en the screen is used as a medium for h is t he s s . wit her, simplest , pure t, mo t lyrical kind ike the dance rather than for an over - size photograph of what dan u s . m sic for the entire ballet film , it is thoroughly expres ive S cers are doing on a tage, all to the accompaniment of a ' H RO EO THE BALLET OF RO EO AND U ET S . ; recording of an orchestra s work for limited action . M M J LI urok D T . G U . AND UL ET ohan Pictures alina lanova , Yuri Zhdanov irectors, J I points this out, as does the unique flurry of k S L v Ar n sh t am L Lavr os . O G e and eonid y Music, ergei Proko ther dance films this season , such as the intrepid ene ' ff Bo h T G fie . O rchestra of the ls oi heatre; conductor, ennadi Kelly s INVITATION TO THE DANCE . Dan Ch L Lavr ovsk . Rozhdestvensky . oreography , eonid y Yes is s A Mo filrn c C B B T . s , the rhythm of the dance felt consi tently and ers and orps de allet of the olshoi heatre

H c . urgently throughout ROMEO AND JULIET. aving never produ tion Th e firsr showing in this coun try of Sir Ia urence The soun ds of gay music and the people shou ' ' n R CH RD III t a e al R i o Oli vier s productio of I A at r cted a gr at de the distance recede as ichard, the k ng s br ther , is left R n and usr ifica t ion. e t he . r ns the a of atte tion, with j It is an impr ssive spec alone in front of throne icha d tur to c mera " is : on m sol Now dis ta cle in whatever form it experienced on televisi , on and in his fa ous iloquy is the winter of our

t T l c en e his - o s the t he theater screen in Vis avision and echnicolor, or isten ont t he rev als cold blo ded design to gain ' ir in g to the soun d track releas ed by RCA Vicror in a three crown. S Ia urence s voice is tremendously impressive here H Sir W l W n o as all r esr . e dl t disk set . i liam alto wrote the sc re, as he had for through the of the play han es it, in fac , ' Sir Laurence s previous Shakespear ean productions of like a versatile inst rument at all times fascinating an d ex The . t h s li HENRY V and HAMLET. pressive employment of music during i so loquy u i t in of t he ac in Th e music con tain s many tun eful pas sages that remain seems curio sly bel t l g to the power t g, both A " w a al . t r : No T u the , in the memory . hro ghout the film score performs visu lly and voc ly to carry the scene the wo ds our n ff n . S e are brows bou d with victorious wreaths the music di erent functio s ome of it is implicit in the scen s, such li as dr ums and trumpets followed by organ m usic during the enters discreetly in back of the voice, and when the nes " " sc n o n or n n n ri t . refer to the la ivious pleasi g of a lute we hear the s u d c o atio , and fa fares and field drums du ng the bat le T t f l i At times the score serves to characterize personages in the of a lute . his surely seems to be an ex reme cas e o gi d ng

: o a a n t the lily. film Anne, represented by a plaintive ob e solo g i s a of st rings ; Mistress Shaw by a pert ditt y ; Ri ch The soliloquy rises to a shr ie king cl imax followed mond by a br oad an d Sta tely theme in woodwinds and brass wit h great effect iveness by the soft chanting of mon ks ap

o r oachin t he S . T o Finally, much of the music does what it is supp sed to do p g in treet hey f rm part of a funeral pro in any adventure film : it St ings and snarls an d emphas izes cession in which Anne follows the corpse of her husband l R a d W i an d creates suspen se or excitement. recen t y slain by ich r ith Anne we are ntroduced to

i o n un . T u he The openin g music sets an atmosphere of pomp and her l ttle ob e tu e as backgro d hrougho t t film it h ea n or t its splendor which oan nor be mis taken for anyt hing bur Engl ish fait fully app rs as she appears, and does al er form l h in i A broad tune in the tried and true Elgar ian vein appea rs materia ly owever cruel the Straits wh ch she finds hers elf . d l here for the firs r time; it is again he ard ne ar the end of t he It remains sa and resigned even during the weird y Stirring

a R n the fu scene in which Richard woos and win s her . picture when we appro ch the camp of ichmo d , The In ture Henry VII ; it also ends t he pict ure over the credi t s . many in st an ces the music strongly emphas izes the t r n : C t picture proper opens wi h a shor of the crown, po trayed grim ess of the situation larence being conduc ed to the musica lly by a high tremolo in the St rings . The scene shows Tower after a hypocritical expr ession of commis eration by B ’ the coronation of King Edward IV. rasses alternate in Ri chard ; a sting as Anne spits in Richard s face; shock music rhythm with the shouts of the nobles as they acclaim t he as the scene changes abruptly to the dark exterior of th e Th new king . e las t nore of the brasses is picked up by the Tower in which Clarence is imprisoned ; a musical shriek voice of the archbishop as he inton es the benediction . as Richard turns to his youn g nephew when the boy pla y

R CH RD III : G a r u H n Ce r H I A John ielgud , M ry Ke ridge , Pa l uso , d ic ardwicke, L aur en ce Oli vier . ' h h R h fully refers to Richard s malformed s oulders . T e treat ichard t rows himself from side to side in his death agony but t he u s t h e or ment is far from subtle , m sic does what it is sup each movement is accompanied by a harp stab in

is he rr a . H efl or n : . c s e t s posed to do it shocks A beautiful transition effected . raises himself for a final and then i ks ’ ’

s s C s . We both pictorially and mu ically , as the cene of larence down as a cello solo slithers down with him may smile f t he violent death in a wine barrel shifts to the bed chamber of at some of the ef ects employed in old melodramas, but h h u E . T S the ailing King dward rough a dissolve two lig ted the techniq e is till very much alive , apparently . Gothic windows appear and the music changes to a 5 0 0 thing The release of the sound track on records affords a wel Th us ih ’ organ piece . e organ is presumably ed purely for come chance to hear the drama unfold at the listener s strumentai color; it is not employed , as it was during the u t i ir L leis re . It brings home forcefully a vir uos ty of S aur ’ c as s . oronation , a ound emanating directly from the scene en ce s acting and the tremendous range of characters ent om On h second thought t is may appear to be somewhat of a con The passed by his supporting cast . excitement of the drama

s t but fir sr efl ecrive. fu ion of s yles , on hearing it certainly is comes through vividly . The battle on Bosworth Field which concludes the pic L O R CHARD III L F . s u h A I ondon ilms aurence livier, John ture invite , of co rse , comparison wit the battle of gin ’ L G R R . Sir W W wa , court Staged in HENRY V . illiam alton s task s ielgud alph ichardson Produced and directed by aur R u W W . O . thornier in RICHARD III for this battle is more dispersed ence livier M sic, illiam alton Played by the oyal

O . u l n , in nature and less grimly fo ght . contrast to the treat Philharmonic rchestra conducted by Muir Mathieson ment in HENRY V where music supplied all the sound d S T RCA Reco : R . during the fighting, sound effects are used in conjunction r ichard III Album from the ound rack ;

R s Vicror LM- 6 126 Sir W l W with the score in ICHARD III . If this de cription of a ( il iam alton follows the general O HA ET HENR battle seems less exciting than the ther, that is most likely pattern that has placed his scores for ML and Y H due to t he nature of the engagement wh ich was sporadic and V high in the special field of film music . e has met the ’ ss h h u finally ended in a general ce ation of fighting w en bor picture s contrasting demands in his nmistakable style, its R Th s . e s parties united again t ichard music graphically show imprint strong in the hauntingly sweet, poignant oboe mel S od acom an ies L t the slowing down of hostilities as the two armies top com y that p the ady Anne , in the bright une of ’ R i he s u s . t s . bat and the soldier embrace ichard , on foor, cornered little prince happier moments , in the omino s scoring ’ The s h c . only ound heard is his breat ing a chilling effe t for the film s terrors , in the big music for its pomp and for He u i W t he u s c . S r is set pon and mortally wounded , and m sic take its losing battle illiam makes telling use of the u Th c char acrer ist icall . e s s c o p at this point musi al treatment of thi equen e organ in a score wh se music, y, becomes an rivals in obviousness that of many a less spectacular film : as inseparable part of the action .

WI LLIAM WALTON

Clifl or d Mcca r ty

W T W O La n cash illiam urner alton was born at ldham , E 2 t h 1 2 T 0 . h is ire , ngland on March 9 , 9 hough he received early education at Christ Chu rch Cathedral Choir School and

C s C h C O - He hri t hurc ollege, xford , he is largely self taught . first gained prominence in 192 3with his String Quar ter and Pa Th rade. e latter work was composed to poems by Edith ' Sitwell and illustrated Walton s early ability to synchronize s music with words , the compo er having collaborated closely h wit the poetess . Other works include the overture Por tr m outb Poin t ( 192 5 the Si n fon ia Con certan t e and the Viola Concerto In 1931 Walton composed h is ’ Belr baz z ar r Fear t largest work , the oratorio , which again demonstrated his expertness in the art of dramatic mus ic . Subsequently he wrote a Symphony a Violin Con certo and the opera Tr oilm a n d Cr er r ida He s also has composed chamber music , ongs , choral works , s but c and mu ic for the ballet, stage, and radio, he produ es

- Hi slowly and is extremely self critical . s mus ic might be described as predominantly romantic, but he follows no school of musical thought and has been more concerned with evolving accepted forms than with discovering new

. W 1 modes of expression alton was knighted in 95 1 . sa Willia m Wa lton Fr a n ce

DISCOGRAPHY

S S r Th e H O h u W W pitfire Prelude , pitfi e Fugue; alle rc estra cond cted by illiam alton; " HMV C3SS9 ( 12 78 rpm record )

He nr y V

L l éOO— G T C S O n ondon , lobe heatre; First horus peech ; nce more u to the breach " " —" Now entertain conject ure of a time ; Nigh t Before the Batt le Upon t he King ' ' ’ Cr in s Da Th e B l A B r S Ia s t C S St . s p y; att e of gincourt; u gundy s peech ; horus peech; m ia W il Madrigal ; Agi ncour t Song . Philh ar on Orchest ra and Chorus conducted by

m W l h Ia O in t RCA Vicror DM- 1 12 8 lia a ton, wit urence livier spoken excerp s; ( four ” 12 78 rpm records ) . " D F s T h t an d ar Philha r m on ia S O h eath of al taff, ouc her sof lips p t tring rc estra W ” conducted by illiam Walton ; HMV C3480 ( 12 78 rpm record ) .

Ha m let " " 0 s too s To nor S The a , that thi too solid fle h be or to be peak the speech Pl y P ilha r m n ia S l . h o O h t e cene; Funera March rc estra conduc ed by Muir Mathi son, with La urence Olivier and Others in spoken excerpts ( recorded from the sound t rack ) ; " - RCA Vicror LCT S ( 10 LP record ) .

Th e fil m The R l h h i O st u t u complete ; oya P il armon c rche ra cond c ed by M ir Mathieson , with the complete cast ( recorded from the soun d track ) ; RCA Vicror LM- 6 126 ” ( t hree 12 LP records ) .

" "

A1 Yea Like It : Under the Greenwood Tree ( Son g ) .

" " " Two Pieces for Strings : Passa eaglia for the Death of Falsra fl ; T ouch Her "

Soft Lips and Part .

" ” The am let W l m W Film Ma r i e h - A l 1 4 . H 4 . Music of by i lia alton, , Marc pri , 9 9 , p THE LIGHTER FI LMS

Ma r y Powell

H GH SOC ET : B C B Deem B I I Y ing rosby listens to arrett s, illy Kyle , Louis H E Tr u m m S . Armstrong , dmond all , y Young and Arvell haw

' ' - W - It s been a good while since the escapist minded have going on . ith such over all coverage, backed by Metro s ’ s ss s u had uch a choice of big, bright comedies , all more or le perb music department, the score s ten songs get super '

H H O T . furnished with song and dance . Metro s IG S CIE Y treatment

- u C e s e . h ads the li t, with a sp ctacular line p of credits ole - - M M B C G . H GH SOC ET G . I I Y ing rosby , race Kelly Porter has added his first new film Score in ten years to a

‘ " C . D C W . irector, harles alters Music and lyrics , ole Porter us s N t e- The h S l h , plu h ewport make of P iladelphia tory s s e d G S S B C S G Cel Mu ic up rvise and adapted by Johnny reen and aul that tars ing rosby, Frank inatra , race Kelly and h N R C . O C S L u h aplin rchestrations , onrad alinger , elson iddle , H . este olm o is Armstrong and his band , on and for the

S . F kip Martin Jazz estival , do a couple of numbers , and open and close

' - : H W 0 . s Record igh Society; Capitol 7 5 Album from the the film with the title song, a calyp o account of what s ' Th e in sound track . lively collection of the show s tunes " ? " cludes the popular Who Wants To Be a Millionaire " F S C H l - T L B C s ( rank inatra , eleste o m rue ove ( ing ro by , " ’ " " Grace Kelly ) ; You re Sensational ( Frank Sinatra ) ; Now

Has B C L u . You Jazz ( ing rosby , o is Armstrong ) Johnny

- - Green conducts the M G M Studio Orchestra .

THE BEST THINGS IN LIFE ARE FREE uses the s h B De S seven year mu ical partners ip of uddy ylva , Lew Brown and Ray Henderson in the 205 as a framework for The t r acri nearly two dozen of their songs . infectious unes p cally tumble over each Other as the partners ( Gordon Mac Rae E B Da n D s , rnest orgnine , ailey ) compo e , rehearse or

fret over firs t nights . Plenty of bounce and humor and Jazz B B " Age trappings goes along with this . lack ottom with s — t h e a B a gang ter ballet, 1 title song, and p rticularly irth of t he Blues which Sheree North dances with Jacques ’ " Rod d Am boise S out t h e r odua ion . , tand among p numbers w Alexander as the choreographer .

Da n D G Ma cRae E B ailey , ordon , rnest orgnine

in Th e Best Things in Life Are Free .

THE ROMANCE OF TRANSPORTATION IN CANADA

Pr a t ley

hi h t he c s s S s . Under this somew at forbidding title , animation a ros a dizzy tre tle bridge, trumming a tune on guitar h N F B has department of t e ational ilm oard produced a gay This is one of t he few cartoons made today in which h and lighthearted cartoon bringing to life t e Story of trans visual wit is continuously employed and is related to t h e r in C t afiic s . u port anada from canoe to airplane to jam It h u . The mor of the commentary drawings , design and colo r s C Low W run eleven minutes and was made by olin , olf u t he S are delightf l , and tory is told so cleverly that the scenes R Ber r all Tom D E Koenig , obert and aly , and scored by ldon h O h i flow into eac t er , and bridge the periods of t me with R h " " . u The R T at burn fl id continuity . more one sees omance of ransport

A whim sical and intimate approach is used and appro ( as it is generally called ) the funnier it seems to be . It is ' h Th t he B a s cc r ia te u f t e . e p so nd ef ects were written into musical score one of o rd s most arti tic a omplishments, and it is visuals offer an element of humor in opposition to the com a matter for regret that it has me t been followed by Other

- - A l t he c . in . s mentary , which is given a dry , tongue cheek delivery fi ms employing same te hnique an example : while the commentator discourses on the haz Eldon Rathburn was the ideal composer to score this u u ards enco ntered by early explorers and fur traders , Jacq es picture , and his lovely melodies and jolly sense of humour C floun cin h C R h : artier is shown g t rough a primeval anadian are an essential part of the film . Mr . at burn writes After s forest , an Indian guide yawn with boredom over one more m uch discu ssion as to the Style and approach we would take s s rapid to hoor, and imilar treatment is given to the days of u i with this pict re, we decided that a score in the l ght jazz S t he in the oxcart , the barge , the team ship and era of the u h S idiom would be most s itable , even t ough the tory was an

. Th e ternal combustion engine historical subject going back to pioneer days . film finally S s s s c o A train teams acro endles golden prairie and the emerged as a kind of triple ounterp int , made up of humor s s u s h t 0 0 tS ousl S z S l mu ic a s me a syncopated cacop ony of chugs, and y tyli ed animation , y commentary read in an over Of all fir sr S modern rhythms . the problems confronting the earnest manner, and music in a modern tyle giving a sar " - Th s s t h e C S t he was . e trans anada railway , tates commentator, one donic feeling to the whole orche tra u ed for film

T - S i c s u s R . s most perplexing the ockies his under tatement onsi ted of a tr mpet ( al o doubling post horn ) , clarinet , c h o V accompanied by a clangor of pi k axes , dynamite and ring tenor saxop one , tromb ne , piano, guitar, brass , ibraphone ”

o . ing steel , while, unconcerned about it all , a lazy cowb y lopes and drums

a c o I T c s s Ext r t N . his se tion was u ed over the title cards and the opening equence

h fi c s s - s owing a traf jam , or rather , everal kinds of traffic jams from inter ection tie ups to s s u u 5 0 10 n or sh boats on canals , train at cro sings , b ilding up to a long perc ssion ( own in

excerpt ) . '

2 . Th e u h s excr acr . Extr act No. post horn was sed in t i It covers a traveler s ride in a S ta ge coach over a bum py road which with him bein g out of the window of

the coach in to a pool of water .

t o Swi Moder a nj . Pg

N Ext a ct o. 3. u u S c r After a bea tif l panning hot across mountains and canyons , a owboy

his t h u i T - appears riding on mule and at e same time Str mming h s guitar . his ba llad like u h u song was sed over t is seq ence .

f em/ u ) T s is - r Extra ct No. 4 . hi part of one of three boogie woogie pieces accompanying t ain w Sequences . Th e bass Ostinato seems par ticularly ell suited to the r ollin g mor ion of t h wheels and e general feeling of dis t ance being spanned by th e railways .

W00 }: 7t h : Boog i e 3 } 1 6 MM FILMS

B F W cien ce in the Or cber tm B S s 30 Wit ch Doct o s . 200 57 th St . S ( ritish Information ervice , r ( randon ilm , Inc , esr , w 1 L ’ 4 Ne . 0 . D s s R Plaz a New . . S ockefeller , York b and w , 3 min ales rights , York b and w , min ) Jean eon e tine u es dance w C uc H d en McGr aw H 0 WeSt 42 n d St . Ne ill , 33 , York ) ond tor patterns and chanting based on aitian voo oo rites in

Muir Math ieson introduces the science of sound to a child acting the exorcis ing of an evil spirit . A dramatically dark ’ u c s s L S m S s Desr in é s a dien e , u ing individual member of the ondon y ened , tripped tage centers attention on electric A h phony Orchestra and the Orchestra as a whole to illu strate performance . lp onse Cimber plays the excitingly effective

R - - h is points . A physics teacher further clarifies matters with drum accompaniment . Produced by itter Young Lerner

T S . simple experiments and filmed diagrams . hree aspects of in association with Victor olow " H O s s ss the subject are taken up . earing the rche tra di cu es " The following feature film s with scores of musical E t he In tr u vibration and sou nd transmission . xploring s " 1 interest are now available in 6 mm . S s r oducd on ments hows the proce s of sound p in the strings , ss u T Mi R T bra and woodwinds and the parts played by each gro p in he kad o ( . Arthur ank ) he Gilbert and Sullivan " " J L making up the or cheStr al range . ooking at Sounds illust Operetta Stars Kenny Baker and Martyn Green with the ' ff c t h e l rates the di eren es in tone qualities , with the help of D Oy y Carte Chorus . r T audiospecrr om ete . hough expressed in the most elemen T A u R he Red Shoe: ( . rth r ank ) Leonide Massine and tary terms , the film is never condescending . Its considerable J amount of information is given with an engaging inform Moira Shearer dance in this memorable film of the ballet B Ea dal . c s e h u in world Its s ore by rian , with ballet music by ality t at will hold the yo ng Iistener , and do much to C T is R Ph ilhar The s hopin and chaikowsky, played by the oyal crease his m usical knowledge and pleasure . music u ed u ir h B M A monic Orchestra nder S T omas eecham . ( FILM U is by Malcolm rnold . I 4 S C . No. ; Vol VIII , ) n 1 New Ca m en C F s I c E s 7t h Sr . r ( ontemporary ilm , , 3 a t 3 , L R Borh film s are in color and may be had from United 10 . 0 York . b and w , min ) tte einiger presents her ani In w W s c 1445 Ne . mated S ilhouettes in her own delightfully funny version of orld Film , Park Avenue, York " ” C h bull well Don armen , in w ich the as as Jose and the The Titan F 1 E t ( C 3 37 h Sr . New ’ ontemporary ilms; ast , Th toreador succumbs to the gypsy s charms . e most familiar . 67 . ) Th e film ’ York b and w , min widely honored on the melodies from Bizet s opera are used in the purely in str u life and work of Michelangelo was directed and phoro mental score . C O . s graphed by urt rtel Aloi Melichar composed the score .

F L . US C . No 3 ( I M M I ; Vol IV, ) 1 E t . New a a en o C F m . 7 S P p g ( ontemporary il s, Inc , 3 ast 3th , " 1 Th F 2 . e York . b and w , min ) Magic lute inspires one of Ha m el a n d Gr et el ( Ideal Pictures; 58 East South Water ' the most enchanting of t he Lon e Reiniger silhouette films . C c Ill T c . M r St . c . 70 ) eve ber s ’ , hi ago, e hni olor , min Michael g Her e Bir dcat cher s r telling of the romance is fanciful with in m n F L K e e version of the Humperdinck opera . ( I M MU joys , perils and a triumphant conclusion where his feathered I S C . o N . ; Vol XIV, t e- u h im love friends nite with his , who rides back to him on ’ ’ Ad F The G eat ven tu e L R ASS . Lib an ostrich . Papageno s mus ic some of Mozart s happiest r r ( ouis de ochemont ilm w 1 Ea t th t . N L 3 S 37 S e . 7 5 . h . U is used throug out nfortunately , the fine baritone who rary; , York b and w , min ) ars ’ E L s Sucksdor ff s S ings it is not named in the scant credits . rik ars on wrote the score for Arne rarely

- c . F L beautiful pi ture of child life on a Swedish farm . ( I M Son : o z be Auve n e R L 1 EaSt g f g ( , 3 embrandt Fil ibrary . r m US C No. M I ; Vol XV, w N . 20 . 37 th St . e s o , York b and w , min ) A uccessi n of c harming episodes marks a day in a village in the Auvergne . Two small boys romp through the awakening of t h e French t he countryside , gathering and bargaining at the market ,

du . Th e the celebration of a wedding, the fin jour lovely melodies of the province, an integral part of all this , are h s C sung by P ylli urtin , known as an interpreter of these " dance songs and great songs She is accompanied by the ” " Bosron S h O LO Fiolar e Malur ous uo ymp ony rchestra in , Q " " " “ " Un o F Lo Calhé Oun d On oren O Din enno , bal ’ " " Lim ouz r LAn tou n B il r e o a e o .

Ma k r R F L 1 E w r e a e 7 Sr . Ne g ( embrandt ilm ibrary , 3 ast 3th , 1 . T s D i s 0 . s York b and w , min ) hi utch film a tudy of a col lection of African masks in the Leyden Museum in Amster L . it a s h Sh s s dam by ingle ray of lig t , ot of each ma k are cunningly composed to intimate some spec ial individual Th u quality . e so nd track is a fascinating example of mu sique

‘ c e : burn c s c oi - oncr te the and crash of ma hine , the alls ani u u n in telli mals and birds , a couple of patches of m sic, an ible s g babble of humans and for one hort moment , some Du c u s s u S one speaking t h ; so nd di torted , speeded p , lowed A h s . s u t e down , run backward an adj nct to exciting mask h l Th s is . e e S h footage , t i f awless composer , Pierr c aeffer, is t he h c us c e . c ief pra titioner of m ique con r te David ; fromTHE TITAN THE MUS IC TRACK FOR "ODE ON A GRECIAN URN

Ha r r y Robin

’ ' " t o film l W k - c In homage to Kea s ode, Lewis Jac bs under ines ith the method we used to ma e the music tra k ’ ' ’ ' ' L t l G . e nn ca ll Ode G Ur n the poet s reaction to a re ic of classic reece ike the po m, ( I ca o it a score ) for the on a recian , i os able i i l wh ch serves as the scenario, the film is comp ed of five I was to enterta n choices based on mpu se , rather than

- t W l ma G a t l ar chi ecrur e l o ff . e s . es n t tanzas g of reek st uary, bas re iefs, , on the calcu ati n of e ect set up the i s ruments so

- i n h l a on e t he landscapes and sea scapes are des g ed into movement, t at I cou d pl y any of them, as impulse to do so H Th while the poem is heard in a qui et readi ng by urd Ha tfield arose . ey were all in srr urn en ts of quite unconventional " "

- - i al H B . t : fia eolet to the accompan ment of a music score by enry rant na ure a double g , a double oboe from Persia, a bari “ " - l The score was actually improvised in the recordin g tone recorder , zither, celesta , and a piano played direct y on

- n . o - S n a No Io S , y S . the tri gs After a run thr ugh of each ta z I pla ed my tudio footage g was made, and there was no attempt w s S n a as . to achieve precise synchronization with visible movement. reaction to the ta z as it projected again In some o i n i l Th e l i t cases, I recorded additi nal improvisat o s , wh ch cou d re ationsh p be ween what is seen and what is heard is , e t ss t h e m t he a then be i ed for the m akin g of a nal track The super n ver hele , one of most eloquent exa ples of p m x fi m vis n s pr0 pr ia te association of music to fil m . i position of impro atio s served at the final poli hing ff t t h e fil m B on of musical e ec s for A . e ccording to Mr rant, who has compo d a c sider " t u film e able number of fea ure and doc mentary scor s, the The a l o i n n t n ah unusu c mb natio of i s rume ts , and the " " " " acr ual i o r i writ ng down of music c mposing, orchest at ng, sence of specific tonal or atonal sch emes in the im pr o m copying involves nu erous obstacles to the sustenance visa t ions S , produce a music track that is fresh, trange and ' ’ ‘ i l l Ode ' of a free , feel ng eve In doing the music for on a n i c n s haunti g, lend ng en hantme t to the film s vi uals in no ’ t he ' G Um , l b recian I thought it wou d be possi le to look at small degree . The tOta l efl eCt is perhaps beSt described as an d m et di ect l i ou film r y, by playing instruments wh ch w ld giving the feeling of being permitted to sense a moment in

r al . , asro , suggest remore p antiquity If this could be recorded antiquity . t he i then there might be possibil ty of preserving a fresh , n t Th i film d e in ter act ed in spontan eous reaction. Associatio s between pic ure and s is recommen ed to ev ryone the in s n the film . music would then be arbitra ry and fort uitous . Th is may development of ou d and music art of soun d li ke a description of old - time silent fil m pian o ac

Ode on a Gr e ia n Um . ot i c L com pani m en ts; but in those days the musical schemes were c Ph ographed and d re ted by ewis ' ' 1 W r Ar t Hi F l 4 47 th S . r n a s ( n , , p earranged , with memorized mood pieces used whe ever J cob America and story i ms est w 16mm m in . Ne York . color; 9 )

CREDITS IN CURRENT RE LEASES

’ D Del BASS DOR S D UGHTER THE N Kw a LAST WAGON THE 20 t h C u . AM A A , orman ; , ent ry Fox irector , N n O h Ber Di N na n D . U i . nited Art sts rector, orman Kras Music arra ged mar aves Music, Lionel ewma rc estrations,

n . and conducted by Jacques Met ehe nard Mayer s .

A A ! Co. U i t . TT CK Associates and Aldrich ; n ted Ar ists M- G - M D irector , V l D R l . o , , H Bron u a . irector obert A drich Music Frank de n . isla e ry Koster Music, K per

AWA ALL TS n s . D t Pev BO U , Y A iver al irec or Joseph - ir RUN FOR THE SUN Russ Field ; Uni ted Artists . D ec : F . tor Ro B l . d S S , y ou ting Music, re erick teiner ongs " " “ " B C RO ETERN T RKO. i N l A K F M I Y Produced and d rected T T R . S aco , riste anchero , F teiner , estor Amara W F . n n . by John arrow Music, Franz a an SECRETS OF THE REEF Marin e Studios ; Continental D o R e R r Disc . t o , Inc irec ors, Ll yd itt r, bert Young, Mu ray

N . O o u Le Ro . t s y Music, Alex or h rchestrati n , Ma rice de E t . e . C i n L rner Music, l ton llio t Di S LENT WOR D THE Co m . D R I L , lu bia rector , Jacques B ND DO R . U t . A I L Jacks ; nited Artis s irector , ichard

B . Cosrea u . s Yves Music, Yve audrier

STORL CENTER C . D , D T BE OND A RE SONAB E DOUBT RKO. D t I olumbia irector aniel ara Y A L irec or .

s Dun in . O on h t H . , G o , Fritz Lan g . Music composed and conduc ed by erschel dash Mu ic e rge g rchestrati s Art ur Mor B lf T H . . Gi B G l . urke i bert itle song, lbert ; lyrics , A red

- Hi . . S W M- - D Ro Row Perry ung by the Los THESE LDER E RS G M. I Y A irector , y

D ct . . ff ire or , land Music, Je Alexander D AGABOND NG THE m n . V KI , Para ou t irector, Mich " URN NG H S THE W B . D B ILL , arner rothers irecto , R B H : S I r Curt iz . S l ael ongs , udolf Frim , rian ooker ome " " " " ’ " “ Bu . S H s . D tuart ei ler Music, avid ttolph Da O R Hu uette s W S n t he y , nly a ose , g altz , o g of " C Y IN THE N GHT W B s D N w R F m B : R a o . e I , A arner rother irector , Vag b nds songs , udolf ri l and Johnny urke B " " " " " " " D o . O F Tu . n , T S H Bon Ia C rank ttle Music, avid utt lph rchestratio s his ame eart , Jour , Vive You , ompari " " ”

Packh . W c Out D l Vicror h Maurice de sons , at h for the evi ; Young , Jo nny " '

- - B r : Im G Th s FASTEST GUN AL E THE MG M D t R s u ke Lord , lad that I Know ee Mu ic scored IV , irec or, u sell l Sh uken Vicr or . Orchesrr a n Leo by Young arrangeme ts, , D OHNN CONCHO U t s . J Y Kent; nited Ar i ts irector , H S F C New Don M u ir u N R . cG e . s . M ic, elson iddle enderson heet music, amous Music orp , York THE STATE OF MUSI C IN TELE V I SION

Ha r r y Robin

S c Leonard Bernstein use s a duet from outh Pacific in des ribing Copyrig ht Roy Ste ve n s " " American Musical Comed y .

’ " The production of any television program is subject Schuman s Judith showed up a sagging live TV prob “ to the taste and budget requirements of sponsors and lem play shall our daughter marry him or E h fee t e ? advertising agencies . ven t ough the large television net we kick him out the next time he sets in this hous ' works are involved in the origination of television pro to the Strains of t he exotic evocation of the Biblical widow s ir is The grams, the sponsor and the agency account executive dance list of such brazen misusages can be easily E Raz oum ovsk s : S who perform the role of sterhazy , or y, in thi multiplied simply turn on the set, hut your eyes , and

- heir m new chamber art for the masses; t oney must be spent listen . r odua ion t h e for the p , and for the time on very precious Opera has had a somewhat healthier life in television; l air . Ideal y , the sponsor and agency man agree, the pro its very nature depending upon sight and sound , tele h h t h gram w ic satisfies e widest possible range of tastes vision was qu ick to investigate the possibilities of develop t he for the least possible cost , is the greatest program to hit ing methods for opera presentation as early as 1946 and ow t r us im . N 1 4 network it is a that ideals change as soon 7 . 9 In addition to the occasional local , small scene and as they are approximated ; and so our sponsor and agency U S scale presentations , throughout the nited tates , a net

S - man ruefully agree , within a hort time after the program NBC TV work has subsidized an opera company , the has hit the network , that all is not ideal . O s pera , to develop and perform opera di tinctly for tele The In their attempt to capture the unswerving attention vision . production group has made serious , often o TV m of the television audience , sp nsor , agency man and net successful attempts to adapt older operas to the mediu , o work executive commit many errors; but they also, though and even more imp rtant , has commissioned living infrequently, are responsible for some quite wonderful composers to write operas for production . ( An article

NBC - TV O entertainments , and a few demonstrations of the poten on the work of the pera will appear in the ialit i t es F L AND TV US C Ed . of television as an art medium , able to take its place next issue of I M M I ) h as the young relative of t eatre , radio and motion picture . The had symphonic repertory has , up to now , a rather The older media suffer from the venal motives of some S sad history in television . ince symphonic music is rather r s of thei practitioners ; but , as in human ociety as a whole , more to be heard than seen, its performance on television there are also those whose motives are warm , constructive , is usually at the disadvantage of the relatively poor sound h ' and devoted to the elevation of t eir neighbors spirits u TV s n d reprod ction provisions of most ets; a when seen , and tastes . TV sh0 t - u as is usual on , in medium or close p, how inter look? Th e In television , music is used and abused in all the esting can a wind , string, or percussion player m d em o o t . h t e NB C . S p ssible ways common in theatre , radio and pic ure telecasts of ymphony astutely concentrated s A T Many years ago it was di covered that music could serve on the face of its conductor, rturo oscanini ; but there fi h s as a remarkably ef cient mnemonic device for words; thus , are admittedly few suc faces and per onalities available " " be in radio, the advertising jingle , which , in television , to television . " " comes visualized . Performers sing and dance their It is in this general S itu ation that one production " " " praises to milder cigarettes blander soap , drier beer , O N BUS S - group, M I , tands out like the two eyed in the "

h - L B harder metal it is no exaggeration to say that the music t e . O N US kingdom of one eyed ast season , M I , a pro i h most frequently performed in television s t e music of gram subs idized by a continuing grant from the Ford advertising jingles . r adver Foundation , and the efore relatively independent of R is t isin ecorded music of every description pressed into g and network pressures , produced a few programs c u h u c Th s s t e . e service as ba kground m ic for the oap operas , crime on s bje t of music itself producers were for S c t un ate B tories and westerns whi h constitute so large a portion in having Leonard ernstein , the conductor and " " ff - . U s e of the entertainment fare that television o ers nlike composer, to serve as the lecturer demon trator in thre ’ s t s s : an orl er B the ituation in motion pic ures , which almo t invariably program one on jazz, t on eethoven s symphonies, c E h 0 s f or cheSt r a I . use newly omposed score , television suf ers partially from and a third on conducting ac was n table ' a peculiar arrangement with the musicians union , and for its bright , often provocative use of the television me d B ' from its own underestimation of the taste and interest of ium . Mr . ernstein s considerable talents as a musician ’ its audience . Sections of the scherzo of Shostakovitch s and lecturer were always in evidence; and the pleasure 5th symphony were used as the background music for an and pride in the craftsmansh ip of music - making suffused E u h s s W t e s . American ( ) western j st recently; last ea on , illiam atmosphere of each teleca t

B NUM ER 1 .

The Great Adventure; Nores on Cue Sheet Ann Ronell ( with score and cue she The Night of the Hunter ( with Walter Schumann Reviews ' s B s E W Pete Kelly lue rnest C . atson It 5 Always Fair Eddy Manson Th e Lady and the Tramp Blin kit B C N Wl t l‘l y lank and anadian ews :( score excerpts ) " 16mm Films The Book of Job

' A Librarian 3Notes on FilmMus Film and TV Music News

BER 2 NUM .

The Rose Tattoo : Notes on t he ( with score excerpts ) Alex North ' In t r oducuon Record Review Reviews Guys and Dolls Oklahoma ! The T T ender rap . Kismet Jazz Dance 16mm Films Corral ( with score excerpts )

B NUM ER 3.

Picnic : Nores on the Score ’ Richard Wagner s Music in Reviews Don Juan Anything Goe s The Benny Goodman S F s R s anta ia evi ited . A V D D orn epartment , earb Publ 16mm Films TV i n the Opera Picture Film and TV Music News

BER 4 NUM .

The Man With the Golden Arm score excerpts ) Lovers and Lollipops ( with score Mus ic for Shakespearean Films Reviews Carous el Madame Butterfly

MB NU ER 5 .

The Music for Moby Di ck ( with themes ) The Eddy Duchin Story The Man Who Knew Too Much Invitation to t h e Dance : Ri Rosy Sequence André Previn ( w ith score excerpts ) The King and l Forbidden Planet Music for Television with Film and TV Mus ic News Credits in Current Releases

F I L M A N D T V M U S I C ( Formerly FILM MUSIC ) Ofli cia l Publicatio n of the Natio n al Film Music Cou n cil

AST 8 TH STREET NEW ORK 28 N. Y . 1 1 E 7 , Y , FI LLMORE 8- 5 502 WINTER 195 6 VOLUME XVI NUMB ER 2

THE TEN COMMANDMENTS (with scor e excer pts ) Elm er Ber ns tein CURRENT SCORES

Gia n t Teahous e of t h e Augus t Moon

Th e Br ave On e

Fr ien dly Per su as ion Bu n dle of Joy On Su ch a Nigh t 8 x 8 INTER V IEW WITH HANS R I CHTER (with scor e excer pt ) LEITH STE V ENS MUSI C ON CAMERA THREE Lewis Fr eedm an CONFESSIONS OF A FILM COMPOSER FILM AND TV MUSIC NEWS

Cover : Exod u s in THE TEN COMMANDMENTS

il Opin ion s expr essed in sign ed a r t icl es a r e n ot n ecessar ily those oft h e Na tion a l Film Mus ic Cou n c .

Pu sh ed b t h a i n F l m m e» t Mu s c u n cil t h t . o 2 . P den W a H am il on ic N o al Co 1 1 Ea s 87 S New k 8 N.Y es bli y e i i , t , Y r , r i t, illi t ; V .

P es i d n a n d Ed i o Ma i e L. H am l on n al t h r ee e Sec ta r G r a ce W. Ma bee . Fi e i ss u s each ea r th occasi o bull eti ns r t t r , r i t ; re y , v e y wi , d l l ar s an f n o d fi ty ce ts . Ber n stei n

o li Th e composition of t he score for THE TEN Thi s is one the primar y concerns ond resp nsibi ties of COMMANDMENTS represents a year and a half of t he the screen composer the invention and adherence to T so n most exacting work I have ever don e . here were ma y m us ica l language whi ch communi cates easil y and spon Th fir St s . e as i r obstacles to overcome was my own apprehen ion taneously to the audience . In this c e even th s p oblem m i t i li t al of scoring what a ounts to the b r h of c vi zed e hic was n or a sim ple one as I was working under t he close i t n God concepts, of scoring conversat on be wee man and , B . DeMille. t he r . C supervision of p oducer , Mr ecil of scoring the birt h of freedom and t he dignity of man as a ’ don t t hi n k h i ’ God . free soul under I , t at any true art st DeMille s It seems ridicu l ous to attempt to examine Mr . shoul d feel equal to that task I was certai nl y beset by ma ny great involvemen t with th e scoring in one pa ragraph First n si if fears and doubts . Perhaps it would have bee ea er I DeMill e is w sa C ci B . were being called upon to present a purely personal allow me a personal n o to y that e l one of the most extraordi n ary men it has been my pleasure to approach to t hese great matters . In the composition of T ta an s r in d e n s n know . here is no de il of y a pect of pictu e mak g mo r picture music, however , the composer mo t ofte o st in finds hi mself bypas sing his most personal expression s in which escapes hi s very sharp scruti ny . Fr m the co um g o n favor of m edi a and lan guage m or t cer tai nly communi cative . of t he extra players to deta ils of orchest ration and s u d DeMill e i the the recordin g Mr . was ndeed master of fate He has r n con of his picture . ve y defi ite cepts about music in his films and is inde fatigable in his quest for what he believes His o t to be correct for his films . c ncep s are quite Wagnerian borh dramatica lly He l in and musically . be ieves firmly the

use of the leit - motif an d the interplays of these motifs in scenes which afi ecr the He destin ies of more than one char acter . is a great believer in lin e and most often would int upon hea ring the lines played on t he piano in the beli ef t hat weak ness of li ne coul d be masked by ha rmon ic ih ven tion and Ot he r or ch esrr al and com onst pos itional devices . A piano dem ration i for in l of composit on played him a fu l, florid piano arran gement would in var ibly " bring a request for a one finger demon " He n St ra t ion of the line . is a sponta eous e ec n n r actor , b omi g warmly e thusiastic about things whi ch please h im and eq ually

disturbed about things which irritate him . I found it quite possible to disa gree as lon g as I was completely candid an d t a in hones , to attempt to g in an end devious ways is an extremely dan gerous DeMi lle as c Mr . pro edure with , he is much too astute a gentlema n to be taken in by '

To t . ol . p iticking sum up , let s say hat Mr DeMill e knew what he wanted and had the energy an d drive to keep at it un t il he ou got it out of y .

Now some general musica l problems In som e cases we were faced with creati ng Egyptian source musi c Since no system St i of musical notation is extant , we ud ed the inst rum en ts of the period an d found a rich assor tment of woodwind and per T i d cussion instruments. hey seem to n i cate a richness of color and a very limited

Cop yrig ht 19 ? Fa mou s Mus k Cor p on fl ion Ex.

S s n scale . everal compo itio s in this vein c were created , some of whi h remain in

the release print of th e picture . A few t h e were cut as it was felt that sounds,

while authentic, might be unpleasant to T fan the modern ear . here are numerous fares for which I employed na t ural horns a which impart a wild , b rbaric quality to " " h The t eir sound . only tricky effects employed were in the burning bush sequence in which the String choir was

reinforced by a novachord, and in the sequence of the pestilence in which several electronic devices were used to Th e or help impart a feeling of terror . chestr a at its greatest Strength cons isted

- Th e un of seventy one musicians . only orthodox feature was the presence of eight The con horns . music was recorded in a ven tion al single cha nnel set up on full coat magnetic film and transferred to optica l film upon the completion of dub

bing .

As I indicated previously, this score was approa ched on the basis of creating themes for all the major characters and t forces . I will attempt to demons rate

some of the usages in different Situations . 1 S Ex. is a forthright tatement of the theme of Moses as it appears in the Ma in

Title or Prelude . Moses emerges as com plex figure in THE TEN COMIVIAND E T F M N S. ound in the basket on the Nile by the daughter of Pharaoh he is reared

. He in , the palace as a prince is temporal r power, a wa rior, a suitor of the throne

all u . princess , in , a glamorous, h man figure L ater he is fallen from favor , outcast from E He God gypt . is a skeptic concerning his a until, tr nsformed by his experience at E the burning bush , he returns to gypt as ' God s messenger to lead his people from The bondage . treatment of the theme in 1 n Ex. relates to Moses as a pri ce of " " Egypt; its martial Stride and fleshy h orc estration tell of temporal power .

2 Ex. is a treatment of the Moses theme H for his discovery as an infant . ere both rhythmically and in its transpa rent wood wind setting it is imbued with the feeling l of lu laby .

Copyrig ht 1957 Fa m ous Music Corpor a t ion Ex. 3is yet anot her t reatment of the l H al same materia ere Moses, f len from " rt favor , is driven out into the dese whe re ’ men are purged and clean sed for God s " H great purpose . ere the arrogan ce is

o . t t g ne In tempo, reatment and orches ra tion we ha ve a wanderer in a despera t e sea rch for his God and the meani ng of hi s T life . his might be a good place to tackle t he St problems of thematic yle . From Mr . ' DeMill e s point of view t he problem to ac was F t kle Story telli ng . rom my point of view the problem at some point had to reduce itself to questi ons of through what

musical idiom . Even if we could have r esurrected the mus ic of t he ancients it is doubtful that the idi om would have been communi cative to our ea rs I was most anxi ous to avoid t he time - worn augmented seconds that seem to represent e H in the asy way to say ebrew music. I

Ex. 4 tu rned rather to more moder n modes of more recent H ebrew music and so we find th e MoseS t hem e loosely based on t be a n o h a r dori m de , w ose m jo sixth in midst of the m inor feeling appears to be some what characteri stic of a more vigorous side H Do of ebrew music . nor assum e any i i i or in t i a th ng cl n cal scholarly h s appro ch, i o the however , as our ma n g al was immediate communi cation of St ory and emotion rather than a schola rly recreation H of ebrew musi c. 4 Ex. t c is the heme of the sedu tive , la n or ous hr o g t ne princess . Here we have r T i a pu e fabrication. h s is n or in an y s a ense ethnic music, but its chrom tic mean derin gs impa rt a suggestion of the c exotic, the presen e of incense.

Cop yrigh t 1957 Fomoor Mu s ic Cor pora t ion In the theme of Hebrew x a ( E . 5 ) we have a m rriage of the feeling of the Moses

suggestion of our old friend, the aug n T w m e ted second . his theme as primarily projected against ing and Slavery and was abandoned favor of fresh material

exodus .

Ex.

Copyrig ht I9S7 Fa m ous Mus ic Corpora tion

Ex. 7

Joshua, the fervent military r e r esen of the exodus, is p s a characteri tic horn call Ex. 7 development of the call leading to theme that represents his love

L . water girl , ilia

Copyrig ht 195 7 Fa mous Mu s ic Corpora tion iffi We now come to the most d cult problem of all From th e very outset all of a s concerned with this project had been gi ving much thought to th e projection of God i l the concept of , wh ch is a vita factor

in the unfolding of thi s pict ure .

The creative arti st who t ackl es this problem may n or find the soluti on diffi cult if he is primaril y concerned with a sub in jeCt ive expression of hi s own feeli ng d i i n relation to Go . In a med um l ke morio pictures t he m in cannot afford th e

luxury of subjectivity . In a medium which reach es more people in one mon t h than a " " soa ll ed serious composer reaches in an entire lifetime it is necessary that the screen composer have some recogniti on " " of the language barrier whi ch exist s between hi s own highly sophi sr im ted ( we hOpe ) language and the more primi tive m us ical lan guage of his vast and varied Th e n ser a audience. scree compo must lso have an boner: desire to communi cate The losr in i with his audience . snob is th s His cu medium . future is an obs re end The with a small cot erie . composer who either by choice or necessity inven ts tort ured mus ical devices t o ma sk a weak ness of line or lack of sponta neity of

emotion is simil arly doomed . Lest there be any m isun der sra n di n g let me r esrat e t hat I am referrin g to the morion pict ure i as it is constituted t oday . I am s mply sayin g t hat when an arti st works in a medium in which he has a captive t o to audience, he hen has the resp nsibility comm uni cate wit h it in a lan guage it c n underst ands . It was an a ute aware ess of this problem whi ch led me to pro crast ina t e for some time in th e creation of music for t h e scenes whi ch con cern ed In th emselves with the presence of God. music God could be m any thi ngs; Greg t n B B orian chants, Pales ri a, ach, eethoven, t he Mozart , or perhaps the Verdi of r R B i . no equiem , or perhaps I el eve I am bu ilding up to confessin g th at I took all th ese elements and fused them in some r mechanical way . I mention the fo egoing to try to give the reader an understanding of t h e thoughts that were conditioning

my effort s as I approached the problem .

8 . T Th e resul t appea rs below as Ex. his is t h e most fort hright S tatement of the

theme as it appears in the prelude . After all this introduction I da re n or make any

comments of my own about thi s t heme . is r too t r It , of cou se , early to y to judge whether I have succeeded in what I set out T to accompli sh with this theme . hat is someth ing the mil lions of people who see

th is film will have to judge for themselves .

C op yrig h t 1 97 Fa m ous Mu s ic Corpora t ion “ ' l » ' 0 O B u c o. wa s .

Ex. 9 is a treatment of the theme which occurs as Moses returns from the bur ni ng bush and realizes for the first time that ’ he is God s messenger and will

his people in bondage .

Copyright l 9 5 7 Fa m ou s Music Corpora tion EL 10 is a more wrat hful God ing the wicked after the debauch of the n golde ca lf seque nce .

1 1

Coowig M © l 9fl Fom out n k Corpom fi oa b

Ex. 1 1

An d a n t e .

Copyrig ht 1957 Fa m ous Mus ic Corpora tion Th e question of authenticity was one

whi ch return ed to plague us periodically . l t ha d been clearly establi shed that the fir sr function of the music would be to aid character deli neation and thereby function in a somewhat n arrative fash " H ion . owever there were always the

Ex . 1 1 scenes with Egyptian musici ans . is one of th e more successful solutions of The l this problem . sca e is a limited one , Th r as were t h e ancient scal es . e o chestra tion was design ed to come as cl ose to

authenticity as possible . Since the sounds of the ancient instrum ents are known to n or th e l us , if musica materials, it was poss ible to rec reate a fine approxi mation of what an Egyptian orchestr a might nor aCtu have sounded like , if what they t ally pla yed . I can only guess hat I made a prett y good stab at what the sound was c so s f like , because it aused me di com ort to f t t the modern ear . Un or unately lit le of the soun d remains in the picture and that which is there is played at a rather low ar e n t s level , but if you i ere ted in this i s s phase of things , l ten to the mu ic that is played as the royal dancers perform in

the pal ace of Pha raoh.

Cop yrig ht 1 957 Fa m ou s Mu s ic Cor pora t ion 12 Ex. The exodus , , was a point of The tention for a while . question whether we shoul

Ex. 1 2

s ? i l

s a u I h ll probably never see, I wo ld

sider this a sacrifice well made .

' C opyright 1957 Fa m ous Mu s ic Corpora tion

Copyright 1 957 Fa m ous Mus ic C orpora tion

- u is considerable variety in the well written n mbers, from the brigh t playfulness of those dealing with the boy and his pet to the sombre melodies foreshadowing their possible ' ’ The separation and the bull s fate in the arena . film s chang "L ’ ” ing moods are especially well caught in eonardo s Quest , which Mr . Young had intended to lengthen into a sym phonic tone poem .

FRIENDLY PERSUASION

If the Quakers do not approve of music ( as d e u G en n Fo d M on B a n do, Mac hik o Ky o, E d e Al FRIENDLY PERSUASION wo ld have you believe ) , they l r , arl r i b rt o a are not going to be very happy ab ut this picture, lthough the rest of the world undoubtedly will welcome it warmly . C ; S D serenade to aptain Fishy played on the samisen the Music accompanies the tory all the way, in imitri " a ’ culmi n ating Teahouse ritu l performance by the Ladies Tiom kin s a . individual m nner D " G League for emocratic Action , turned eishas under Lorus R ' T T S . This iomkin tyle uses themes, much as ichard Blossom s tutelage his song and dance production consists

FR ENDL ERSU S ON u - - Wagner did . In the case of I Y P A I , the of a lovely folk song sung by a fo rteen year old girl and a " T L m B n chief theme is hee I ove , but there are al ost a dozen dance which features Lorus lossom and the newly i structed

cuir in t . The a O r e . thers, l g much more detailed s udy to recognize Ge ishas score keeps in the true Kabuki tr dition of T Of - iomkin has done his usual job excellent craftsmanship , rhythmic vitality and drive, semitonic penta scale and the G r C iff ia providing merry accompaniments for a y ooper , the exciting counterpoint which arises from the d erent ’ ' The f n t h O . preacher s husband , in his peccadillo ( racing a Methodist s st r um e s anticipating eac ther film score dif ers buggy ) and many sentimental and tuneful moments for the from the original Stage version by Dai - Koeng Lee as there lovely farm scenes and the roma nce of the younger gener was no necessity to bridge or introduce scenes in the film ;

w - He ar t he . ation . has added to the drama of the poignant the fade in technique was employed to fullest extent sequences in which the son, played sensitively by Anthony SHE DON SO ER Of u L FF Perkins, defends his countryside in spite his religio s scruples . TEAHOUSE OF THE AUGUST MOON Metr o . Marlon

After Mother has betrayed her own preaching by D e D . B G . rando, lenn Ford ir ctor , aniel Mann Musical thwacking a Rebel soldier for mistreating her pet goose , the o S C . O supervision , aul haplin kinawan songs comp sed or sound of the forbidden organ is heard in this Quaker home i arranged by K kuko Kanai . at last . Music is really the victor . S C N C n ( Mr . offer was onductor of the ational ompa y of QUAINTANCE EATON " Teahouse of the August Moon .

Ga FRIENDLY PERSUASION Allied Artists. ry BUNDLE OF OY ir D W W . J C D McGu e. ooper, orothy irector , illiam yler

Music composed and conducted by Dimitri Tiomkin . S D T F Websrer : T C D ongs, imitri iomkin , Paul rancis hee I olor , music and that wholesome young couple, ebbie W T E B CHE OR Love, Marry Me , Marry Me , Mockingbird in a illow ree , and ddie Fisher, refurbish A L R D H C . G Indiana oliday, oax Me a Little comedy that inger ogers and avid

Niven played somewhat differently years ago . Salesgirl Reco ds: Album : Co Dot r Friendly Persuasion ; ( ral , , Debbie is credited with being the mother of a baby she has U Tbee Love: B ( Dot ) ; u nique ) ; I Pat oone Fo r Aces t m isun der found , and until things are s raightened out, Decca ) ; Anthony Perkins ( Epic ) ; Lou Busch ( Capitol ) ; standings and tunes tumble over each Other in carefree Michael Legrand Columbia ) ; George Cares ( Coral ) ; ( The M row- G succession . seven y ordon songs , given lush D R ( M- G - M) ; Bob Gr a bo ( U i ) ; ndia n a avid ose y n que I a a Hugo Winterh lter arrangements and perform nce , are sung H olid ay: Lawrence Welk ( Coral ) . S R . in the best Fisher tyle , two of them with Miss eynolds ’ Choreographer Nick Casd e s high spot is a riotous dance ' M r ow r ock n u contest, accompanied by a y roll n mber , TEAHOUSE OF THE AUGUST MOON ”

T T n or n . empo Fugit . his is definitely a thi k film R OWE Th e film score for TEAHOUSE OF THE AUGUST MA Y P LL MOON is based primarily upon Okinawan folk music and kOtO h ichir iki a an d B L F OY RK R E D E O O . performed on the samisen , , , shakuh chi UND J adio ddie Fisher , ebbie m l w . D T . So M r o R . N percussion instru ents Music is employed on y when eynolds irector, orman autog ngs, Josef y , Go : B All L S Da music is either being sung or performed on the screen, except Mack rdon undle of Joy , About ove, ome y T S I N F T Wa B W for the opening credits ( abstracted from the final eahouse oon, ever elt his y efore , orry About Th ’ . e T L in B E scene ) song and dance music utilized is oriental music omorrow , ullaby lue, You re Perfect in very T W . S void of estern compositional techniques his music plays Department . ongs arranged and conducted by Hugo a LOtus W B on a purely functional role throughout; the entr nce of interhalter . ackground score adapted and c ducted by B Tobiki W u S lossom to accompanied by the male Okinawans alter Scharf . M sical numbers and dances taged by Nick ' u LOtus B singing a joyf l folk song; lossom s captivating Castle . Ab ut Tom m or r ow B l I Neve cord . W r r o Re s o y , i l Fontaine; r Tbir Wa Be or e D ulla b i n Blue Felt y f , elores Parker; L y , RKO U All About ove Same Da Edi th Adams . ( nique ) ; L , y

Soon E i . RCA . , dd e Fisher ( Victor )

beet Music: L s Co New . S amas Mu ic rp, York

ON SUCH A NIGHT

It IS almost twenty five year s since John Christi e smrt ed " G n o r t a Of The Br usca n tin o Fi a r o F n c s B e Che ubi o the ly deb u ne pera Fes iv l with performance ( g ) , ra e ibl ( r n ) , O" Ma rr iage of Figar o on his Elimbet han eSta t e on the Sussex El en a Ri zzier i ( Susa nn a ) . i D . The i s t C n s Ca E in flas owns opera presentat on given annually in h s ou tes Producer rl bert appears a short hback , " ’ s t i n h i nal ar ia r e t g ave become a cherished and internat o ly rehearsing Mm e Jurinac for the Sul duet. Vitto io s c ar E l l fe ON SUCH re pe ted p t of ng ish musica li A Gui conduct s and the or ches tra is the Royal Philharmoni c. N GHT o i is n one A i t 5 i the I is a hands me , l ghtly dramat ed accou t of part from its mus cal interes , in its brief 3 m nutes Of them Groups of people in eveni ng dress board a day film carries a nice and nor over - serious feeli ng of the r i S ou r a n t Of t time t a n in Victoria tation , and a Americ the beau y the setting, the devo ion of the ' O i v l tourist ( ddly prov ncial , by the way ) follows them to see Fesri al s fol owers ' to G e what it s all about . Journey s end proves be lynd

n e O - L bour e, wh re titled pera goer Marie ohr gets the young " " man into The Marriage of Figa ro by appeal ing to Mr . ’ The l ON SUCH N GHT R S Se c Lt d Ch ristie himself . fi m s excellent opera extracts are A I ank creen rvi es ; " " a la t t B I i S es D i ar . t ken mostly from the second and the ac s of Figaro , ritish nformat on ervic avid Kn ght, M ie Lohr

B n r n . Br usoan t in i F S D A . i with Sesto as igaro and ena Jurinac as the irector, nthony Asquith Mus c, enjami F a kel

8 x 8 ; AN INTERVIEW WITH HANS RICHTER

Ba cbm a n n

Bacbma fm : i c can u in As your visual images are on the symbol Music and sho ld be used, but a far more active way

- e l s li o sa in tux m a r it a l . l ve , I would imagine you had a problem in adju ting your or, as the traditiona st w uld y , an way sound to correspon d to the flow of pictures . I have m ade m y n ew film 8 x 8 as an indepen den t Ricbter : n and e Yes, but the sound is always a special prob artist that gives me the fr edom to experiment with O n l h s l the . lem in film makin g. I sti l believe that t is relatively new ound as wel as with image I think I have pe ed in “ " d film nor o n th e 8 8 d me ium, , has been devel ped more tha to x a number of new ways in the use of soun In spite " " W of wha t l have id so far l Star t the film wit h a burSt of fir sr t . e sa three or four le ters of the alphabet have used ,

film ff a n i . n e t in many di erent ways, but the discoveries are just music, rom t c clavichord music After the audie ce s t les If 0 . 0 in a e S beginning that is 9 7 true for film gener l, it is down and relaxes, the chang s tart whole sequences with In T . 150 n . e o efi eccs o i r t e % true for film sou d oday we n arly always use s und nly , nte rup d speech, etc principle I o n i firsr would like to sa t ha t soun d in film is a roblem whose s u d as it was used during the s lent period , to y p i f o in n n i o . cover up coughing the audie ce , or whisperi g or kiss ng s lution still lies in the future It is d f erent fr m the ffli an d l o or o or shu ng of feet and popcorn munching, second , to usua pr blems presented to the musician c mposer of et n a . g b ckgrou d music to underlin e some mood I once today . heard a lecture given by a famous American composer in Bacbma n n : e is n Ot t s i n in H o i You m an it important whe her which he a d that sou d ollywo d is used exclus vely ? ' the m us ic we use in the film is good or bad by itself a o h l . n all T as b ckgr und, and rig t y so I do t agree at here ar e , ; H GH NOON n t n exceptions of course in I , for i s a ce , Ricbt er : Of o It had better be good , c urse , but that is s n the son is used an ive an d dr am a i ( ) as acr t c art . ou d g p nor h o n the point, because what matters is t at the s u d in l l s a r What is the reason tha t sound is gener ally used so ( cluding the music ) fu fi l a dr matic function pa allel ? n d it T $30 0 un imaginatively and passively Music is an art form that to the image but or subjugate to hough I am a 3

O film as n , l l has gr own ver thousands of years . It has developed its own believer in the a visual la guage I a so be ieve that

w has o a soun d should play an active and creative part . This creative la s, gr wn into a l nguage of its own , with its own l l prin ciples and style according to its own aesthetic and cul part can only be fu fi led if soun d frees itself from the tra tur al n d How n i s ee s. can o e expecr an ar t for m in its own dit on of music, ju t as the image had to free itself ( and

l i u . right and correspon di ng to the deman d of an audience con sti l has to ) from the trad tion of the theatre and literat re ditioned to i l its form, to fit l ke a g ove over the new rebel

T is nor . lious medi um of the film ? It d his a theoretical opinion I have used sound in oes nor . w on ven my ne film exact ly that way . I have cut up the c Soun d in film has its own roblem s an d t he ar e nOt t ional n s efi eCts p y eleme ts of the aural world ound , music

a ro l - n . s l n and re i t music l p blems specifica ly, but dramatic o es Music in and speech into ma l sectio s, by ed ting hem the ro er sense of the word com es in to it as far as t he new t r p p in a sequence, playing hem forwards and backwa ds car trained , the feeling for rhyth is co n cerned but net or in an m an n er l fm nd n ecessar l have used them ro m y y, " nor m us ical i n as music per se as trad tio or musical form . construct the soun d track for 8 x I have composed with sound as I do with pictures . Perhaps there is a relation here mean to say that film should do without composers or music . E C n or! But i n to a trend in modern music, represented by dgar Varese , ertainly it should be understood that music who one of the most fascinating modern composers , for the traditional sense is only one among hundreds of forms

h - more than thirty years has been mu sically articulating the of lm sound . " caca hon p y of our world , of our time , into rich symphonies Ba cbrn a n n : T Mr. ownsend , we would be most inter never heard before . " ested in hearing how you used the Milha ud theme in 8 x 8 Ba chma n n : You mean what is known as m usic con " Town end: crete ? s Mr . Milhaud suggested the use of his t eight measure tune as the basis for a se of variations . I Ri cht e : Not r exactly . Music concrete in my opinion have therefore written three short variations ( average time

is only a variation of Varese . And Varese as well as music about thirty seconds ) with an interlude and coda, while l t concrete are in a way the outgrowths of ideas of futurism . trying a so to cap ure the mood of the images on the screen . The original sound - organ which the Italian Russolo built Tbem e: The theme is Stated twice as Mr . Milhaud wrote 1909 s s in played nothing but street noi e , fire engines , ma f I it, with the addition of my harmonization . chines and Other sound ef ects . t is a movement of our

, Var 1 : time this incorporation of the world of sound that we hear . The fir St melody is played on the cello, then on the

. T c The n in our cities into music his sound we normally reje t as recorder and trumpet . piano serves as rhythm i Str u disturbing noise . Nevertheless we are already accustomed ment to highlight the action of Mexican chessmen , made O . ar t icu and conditioned to it nce fully integrated into the by means of Stop morion . s lated world of mu ical art, it will be just as acceptable as '

Var . 2 : On l 6th t Picasso or Kandinski . Though today it is still revolting to the screen cen ury Flemish chessmen are " " set on a chessboard which slowly revolves on a pedestal . the classical listener, I feel it is enjoyable , exciting and H , , i t is ours . ere I use the recorder trumpet and cello endeavoring to create the illusion of l 6th century music through ins tr u Ba cbm an n : Could you give us examples of how you mental color and such contrapuntal devices as suspension ? use sound in your film to illuSt r ate your theories and imitation .

Ri cbtef : I have one sequence in which a man is play H ing chess with himself . e seems to be extremely nervous h and disturbed with the problems on the boa rd . And rig tly

- so, because there is a wrong figure on t h chess board which frustrates him . I used stuttering as a theme for sound in this sequence , the desire to express something but the i n

. t ability to do so I had a trumpet s uttering, a melody that S never comes through , people tuttering, machine sounds f accelerated and retarded , a thwarted ef ort to count from one to ten , all building up to such a climax that the idea could W not possibly be lost . hen eventually a symbolic Muse comes to free the man from his frustration, everything falls into place; the trumpet blows its theme melodiously and ll a a . S h r is right ag in I used trains and words e e, but they u are neither music nor dialogue . Altho gh they have no S rational continuity , they till make sense by themselves as the expression of inhibition and as active dramatic partici Int er lude: The in piano plays the theme through once; then pants the film . a short transition leads to

Another example is the sound in the Cocteau - enacted ar : Queening of the Pawn Instead of using music or a poem V . 3 Gree n and white Indian chessmen seem to dance x a stately ballet to music from a music bo . C - by octeau, I took three sentences from a chess book for s F E beginners and had them poken in rench , nglish Italian Coda , : The green king is knocked over by the white king . G and erman , backwards and forwards , the way the picture have used only the fir St few nores of the original theme I , c went and sometimes against it , fast and slow , in pie es and and written a dramatic little coda which highlights the u single words , and finally , as a kind of chorale , all fo r th e action on the screen and ends variations.

. u unisono I treated it as a m sical theme , a fugue , which I Ba cbnz a n n : T H R D developed , sustaining the forwards and backwards Steps of hank you , ans ichter and ouglas ’ " ’ " ’ T C . W 8 8 s octeau s acting . ownsend e ll look for x simultaneous opening New H in York , Paris and ollywood in March . Good luck Ba cbm an n : But is ! there , after all , real music in t h e with it n or film, too , music which is disturbed to create a dramatic

. effect 8 8 Va ia tion s on a Tbem e o Milbaud x r f , 3b;

' Da n ce Im r ovisat ion a nd Fu u O e . 4 D T Ri chter : T p g , p 3, by ouglas own rue. It includes Robert Abramson s lovely

' . s F C. . O B send Publi hed by Peters Corp . Both of these num clavichord improvisations , scar rand s singing of t h e late ' ’ o F L s bers will be br adcast during the American Music estival John atouche s lyric , and John Gr uen s accelerated bull WNYC F over in ebruary . fight . Darius Milhaud wrote a mus ical theme for me and D T s us B then I asked ouglas own end here to develop it as m ic, ( Mr . achmann interviews film personalities weekly over o g od music, in active cooperation with the film . I do n et New WFUV- FM F RM. York station , riday , 7 ) LE ITH STE VENS

Clifi or d Mcca r tyl

1949 Never Fear 1949 The Great Rupert 19 50 Desti nat i on Moon 1 950 The Sun Sets at Dawn Holiday Films 195 1 N0 Question s Asked Metro- Goldwyn - Mayer 195 1 When Wor lds Collide ooooooooo George Pal - Paramount 195 1 St orm Over Tibet Ivan Tors - Columbia ( ada ptation of music by Arthur Honegger and additional composition )

oooooo Hall Ba rtl ett Stanl ey Kramer - Columbia S 1 31 09 B . 9 orn Mt Moriah , Missouri , eptember , ; began piano lessons at five ; early ambition was to be concert The Bob Mat hias St or y Hor n et C pianist ; won scholarship at Institute , Kansas ity , 14 R C Mad at t he wor ld Mo . ; piano debut at playing ubinstein Piano oncerto; conducting debut at 16 and was appointed musical director The Tr eas u re of Pan cho Villa

- for Sylvia Tell Ballet Company; coached Students of Mme . Edmund Grainger RKO

S n - H 1 27 Wor ld Without End Al i r s chuman eink , 9 , and later toured with her; awarded l ed A ti ts F 1928 S E The Scar let H ou Juilliard Foundation ellowship , ; tudied with rnest r

H h R G S CBS G eat Da in the Mor n i n E n Gr i - RKO utc eson , ubin oldmark , Albert toessel ; joined r y g dmu d a nger

l 1 30 1933- 194 1 rw —MGM as voca arranger, 9 ; from composed and A in C m W Li i e conducted many radio shows , including olu bia ork zz " “ " " "S N S S l S shop , aturday ight wing ession , Fred Al en how , " " “ F S S E H Ab tt an d ord ummer unday vening our , ( D NCERT ITEMS ADAPTE D FROM FILM SCORES ” C l " " Bi T 1 4 1 oste lo , g own ; in 9 composed , arranged and S n co at ion : R fir sr film S n co at i on y p American hapsody . conducted music for his , y p ; joined I S a 1 42 Ni ht Son : C i W . . C n O. as radio director for outhwest Pacific rea, 9 ; g g oncerto in M nor ( for pia o and orches after World War II returned to Hollywood to compose and t ra ) . " R r conduct music for radio, including equest Perfo mance , Desti nat i on Moon : D estination Moon Suite . " " " “ R S S The D Th e S ise tevens how , octor Fights , aint " " " E T a R ncore heater , Ac demy Award series , ichard D SC R H " I OG AP Y R m m a U s u 1 48 S ogue ; under co to niver al Pict res, 9 ; ince

1 4 - 1 50 9 9 has free lanced ; entered television, 9 ; composed Desti na tion Moon “B " "H l " and conducted music for urns and Allen , o iday , " " " ” " " Ea n u l C C H C S S a co rth Prelude plan ing and b i ding of the olgate omedy our , limax , hower of t rs ; " " O S On S r c great In uter pace the u face of founder and fir St president of Composers and Lyri ists " " t he Th e H E Moon crater arpalus , ploring the Gu m 1 54 x ild of A erica , 9 ; helped pioneer use of jazz in film " " " Th e E moon , dilemma , scape from the moon and : Ei ht I on Men The Glass Wall The Wild On e scores r , , , g O S r i vate H ell 6 Cr ashout finale rchestra conducted by Leith tevens P 3 , ; at present composing the musical " " " ( recorded from the sound trac ) ; Colum bia CL 6 1 5 1 Ta 0 - NBC k score for j Mahal , a projected 9 minute spec " " 1 LP 0 record ) . tacular television production .

The Wild One CREDITS Jazz Themes : The Wild On e Lonely Way " " ” " B B B H0 tshoe W 1942 S n copat i on William Dieterle - RKO eetle , lues for rando , indswept y " ’ 1947 Ni ht Son RKO R Scramble Chino Leith Stevens All Stars; Decca g g adio ” DL 1 5 5 5 10 . 1948 Black Bar t Universal - International ( LP record ) ( with Frank Skinner and Others ) Pri vat e H ell 36 1948 All My Son s Universal - International ' ’ ’ 1 48 Feudi n Fussi n and A- Fi htin H 6 H E 9 , g Private ell 3 avana Interlude asy Mood " ” " " U - D L L ll D niversal International addy ong egs Joshua , Li i ance of the " " - L l u n 1 48 La r cen U B . O h 9 y niversal International il ip tia , Private lues rc estra conducted by " Film ak r s L h S C CRL 6122 1 e eit tevens; oral 5 ( 0 LP record ) . MUSIC ON CAMERA THREE

Lewi s Fr eed m a n a nd J ohn McGifier t

n n Television has or yet begun to make a rich and tragic . In a switch from the usual relationship betwee i t imaginative use of music, either for its own sake or to music and literature , poems were used to establ sh a mos

D her . enhance a mood . irect presentation of good music ( the p e and to bridge the songs NBC opera is an outstanding example ) is Still so rare as " F T S HERE to point up the general lack ; and the background and 2 . US C OR O " M I A M P bridge music on non - musical programs is too often banal D T : S W k a . ylan homas uite based on elsh fol themes, or pretentious . s C T r t C T ex er im en e pecially composed for amera h ee , for harp and clarine amera hree, as a program devoted to the p T ' ( live ) . Music was used under some of homas prose , but tal and educational presentation of the arts, is of course n e only as settings ( before and after ) for the poems . O of interested in presenting good music for its own sake . In the m isuses of music is to play it ( on organ or Otherwise ) addition , the low budget of the show means that it must

lt under good poems . e . r esu survive on sugg stion and selectivity As a , the S E . W N : atmospheric use of mus ic is more than a useful tool ; it can b hat Price onsense elections from dward Lear ,

C T . S u efi eCt iven ess Lewis arroll , and James hurber pecially composed s ite be a key factor in the of many of the programs. Here are brief descriptions of some of the uses of music on for clarinets and oboes ( live ) .

: C . c . Art in Morion the mobiles of Alexander alder C T N 1 56 . amera hree between March and ovember, 9 Music was of particular importance in presenting a subject 1 F that was likely to Strike many of our viewers as disturbingly . MUSIC OR ITS OWN SAKE We i new , difficult, and abstract . therefore used melod c and " "

- . : G N R E un s a Mozart uests, adia eisenberg ( pianist ) , rich modern music while showing the mobiles , resi ting " L i the n Leinsdorf ( conductor ) , Kurt ist ( musicologist ) . M ss more obvious temptation to match adva ced art with " "

R The s . S B n eisenberg played one movement of a Mozart Sonata . advanced mu ic ome artok was included , but o ly

l a - abSt r aCt three guests then talked informal y about Moz rt , and what when examples of non morion were being shown his music means to them . We discovered that listeners are on camera . particularly stimulated by hearing the performer ’ s and ' US C FOR ITS OWN S E conductor s opinions of music with which they are so intim 3. M I AK Th ately associated . e program concluded with a recorded AND FOR ATMOSPHERE S selection from a Mozart ymphony, with the cameras taking T n o - his combined use of music has in a se se been m st close ups of the faces of the guess as they listened . It was

C T . On e clear from the mail response that th is device was borh inter important of all to amera hree of our major aims n - has been to put different arts into new combinatio s , so that esting and non distracting to the audience . The a half hour may become more than the television presen . S : S C b Art of ong ingers, Phyllis urtin ( soprano ) , ive tat . Yi - Sz e - C McNeil al of an aspect of one art If the program succeeds, it Kwei ( bass baritone ) , laudia ( contr to ) . First program in a series aimed at breaking down some of is a new artist entity in its own right . " ” " E M l : R O i the arbitrary distinctions between classica l and popular a . lizabethan iscel any performers, ussell berl n B W n ( counter tenor ) , etty ilson ( soprano ) , Paul May ard . C H music omposers represented included Faure , andel, w Ne a . G S - ( harpsichord ) , of the York Pro Music Antiqua ershwin , Kern , Purcell, chubert , and Villa Lobos . " S Songs from the Elizabethan Songbook framed the progra c . tring and Jazz Quartets : Th e Camera Three String m

T . a i n . r D Saiden ber and punctuated it throughout hey were import them Quartet ( organized by aniel g, cellist ) and the a Ge selves, as part of the achievement and spirit of the . S rry Mulligan Jazz Quartet econd in the series . E a ; . T : G u S a t lizabeth n age but they were also vital in unify ing the d American heatre Music uests, Arth r chw r z c E whole half hour, which was a dramatized compilation of ( omposer ) and rich Leinsdorf ( conductor ) . Performers :

m . e ca t a usan prose , poems, and scenes fro plays It is vital in such a Memb rs of the of the new Americ n opera , S nah , ff C L program , with its many di erent elements, to avoid chop . . S by arlisle Floyd ast in the series Mr . chwartz and Mr . s mi pine , and to prepare the audience emotionally for shifts Leinsdorf, at two pianos, dis ssed and illustrated similarities F r a of mood . o ex mple : we incorporated songs into a tragic between musical comedy and opera . Last half of program " " Th e D lh Susan scene form uchess of Ma , and in this way restored consisted of scenes from nah . ' Cost an Tu n e . f tte: Camera Three Opera Workshop some of the emotional force it inevitably lost from bei g out u C H o D taken of the context of a f ll length play . ( Phyllis urtin, Jane obs n, avid Lloyd , Mack Morgan , Th T D . G : e . S fir sr b oya riumph of arkness In this program, and Kenneth mith ) in the act of the Mozart opera . l ( ) f . The Course of Love : love songs of thr ee continents dance and f amenco singing with guitar were blended aim to a with paintings and etchings, the being capture the by Marais and Miranda, international bal l deers . This was s Th G . e . S es ential spirit of oya as it became deeper and darker more than a simple recital In a tylized setting, and with o use of music here was as a means of symbolic expressiveness. careful changes in lighting to fit the changing mo ds , the Th e s S half hour moved from the lighter phases of love to the more words of the singer ( untran lated from the pan is h ) t had only an indirect connection with the Goya pic ures. Creation of the proper emotional climate was the all - impor

tant factor . l Ta sr . e r : H in E c Medieva p y ere, as the lizabethan o Miscellany, music was b th a part of the subject and an

essential for atmosphere . For this impression of the Middl e u Ages in music, pictures, and dramatic scenes, we sed in St r um en tal l B n records ( borh vocal and ) , main y the elgi a Pro Music Antiqua 's recording of twelfth and thirteenth

G . century music, and a regorian chant

( Lewis Freedm an is pr oducer and John McGiHert is CA ER writer for M A THREE . )

film - maker said , at the end of a screening, for this picture

I want you to give me a score in the style of Hindemit h. Knowing that he had probably heard his fir St Hindemith record recently, I nodded in solemn agreement and went home to compose a score which he marvelled at, only it " was in the style of Victor Young! A source of some ' disagreement is the producer s demand for music in a scene in which the composer feels it has no place, or, contrarily, for no music where the composer feels it woul d be very

ff . e ective Often I have simply used my own judgement , with which the producer as a rule enthusiastically concurs when he sees and hears the results . B H l y and large , ollywood producers will come to inte ' li en t : g terms with a composer s judgement, after consider But able discussion . it is always most productive to be ' Mich el Ray i n Th e Br a ve On given a completely free hand in one s work . I was deligh ted B fine when the King rothers recently turned over their film , " ’ "

The B a ve On e s . r , to me , and simply aid It s your baby now 1 f an d composition find deeply satis ying, one that I Set The Br ave On e in Mexico, gave me time and leeway to ' hope will enhance the pleasure of audiences everywhere . L - work in the atin folk idiom , which I m particularly partial For acrual to . the recording I was able to use the excellent

- r The u 1 10 piece Munich Symphony Orchest a . res lt is a ( Repri n ted th rough th e cou rtesy of MUSIC JOURNAL)

FILM AND TV MUSIC NEWS

The C u w in for ’ omposers and Lyricists Guild of America has Metropolitan M se um of Art in Ne York . Further

- t fi 1956 1957 . S Th e T i 2 elec ed its of cers for the term Leith tevens mation may be had from h rd Art Film Festival, 9 Th . e ew . S B . remains in office as president of the organization Easr 64th St . N York idney erkowitz is chairman O ffi W S W S ther o cers are alter chumann , inston harples and Warner Brothers is making the full facilities of its studio D T - L avid erry , vice presidents; Jerry ivingston , secretary available for the production of filmed programs on the e Ben L t - Th . e tr asurer, and udlow , assistant secre ary treasurer AB » t The C TV ne work . arrangement is the first of its kind Guild has presented its first honorary membership to George “ The between a major Studio and a network . deal permits Jessel in recognition of his generous gifts of his talent, Warner to produce films for any Other television programs . wit and benevolence to all American art and artists. G S a o The Morion Picture Association of Japan is sponsoring a eorge eaton , president of the Ac demy of Moti n W New ar S Japanese Film eek in York in late Janu y , with Picture Arts and ciences, announces that nominations for ’ M S 2 t h l evening screenings at the useum of Modern Art . hirley the Academy s 9 Annual Awards wi l be made on “

a The . Yam guchi will act as hostess to artists and executives February 1 8 . nominations will not be telecast Jerry D 2 i . R L O 7 prominent in the Japanese film world John . ockefeller , ewis will head the scar ceremonies on March , wh ch III T B a NBC TV . N C , and Masayuki ani , the Amb ssador from Japan , head will be carried over the and radio networks Th 1 . e Ed Su S 5 the cooperating committee llivan how began televising the Academy presentations in 9 3, and CBS u on will present scenes from five operas this season . has acquired excl sive television rights to the ceremony S H l C th 1 6 1 . C ingers , conductors and an orchestra of sixty men from e until 9 Hartt ollege of Music and i lyer ollege

Metropolitan Opera Compa ny will appear in the fully Staged will federate to form the Universit y of Hartford . Each Th r . e fi St N excerpts telecast, in ovember, was taken from college will maintain its academic identity under the ’ " "

T o . a the second act of Puccini s La osca , with Maria Callas governing b ard of the university For the past eight ye rs The l C r in the title role . Motion Picture Sound Editors Hartt Col ege has sponsored the Institute of ontempo ary ' A s r e have revised procedures for their Annual Awards nom merican Music, pre enting new works by nearly a hund d in a i - d t on s. U S l an nder the new system, each major tudio wi l musicians in one composer concerts numerous music

- he S i Th fesrivals . t nominate its own best sound edited film . e independents At annual ylvania awards, a spec al

R W. S will choose their final nominee from five selections . television award was given to obert arnoff , President " R B S S s in str uc N B s C i ichard enda, authority in chillinger y tem of the ational roadca ting ompany, for his outstand ng “ " The in tion , has written a series of twenty articles on Lessons in contribution to music on television . citation read " “ Schillinger System Ar ranging for the INTERNATIONAL part : Th e committee of judges feels th at with one Th t US C N. e r M I IA articles , which give p actical applications notable exception there always has been a dear h of atten ’ ' S - n in of the ystem and time saving tech iques in orchestration , tion to the creative television techniques possible the O T e NBC O T Th e . began in the ctober issue of the magazine. back world of music hat xception is the pera heatre, numbers are available . Write to the INTERNATIONAL and one man is primarily responsible for bringing it to us. US C N D t He B T r S . N N C O 39 N. . H M I IA , ivision , ewark , J ugo launched the pera heat e several years ago , and Fr iedhofer has been elected to the Music Branch of the it has brilliantly fulfilled his three aims : to present opera t E h S . T Academy of Motion Pic ure Arts and ciences hrough in nglis , to follow plausible casting policies so that r R F T i an d a g ant awarded by the ockefeller oundation, the hird singers fit the parts they are portray ng, to have the ' s Art Film Fe tival in America will be held this spring under words sung clearly so that everyone may understa nd t hem .

co- W the sponsorship of the American Federation of Arts and ithout compromising the quality of opera , this program C the ollege Art Association . Films will be screened at the has made it enjoyable to millions .

F I L M AN D T V M U S I C ( Formerly FILM MUSIC ) Offi cial Publication of the National Film Music Cou n cil W K 1 1 EAST 87TH STREET E OR 28 N. . , N Y , Y FI LLMORE 8 - 5 502 SPR ING 195 7 V OLUME X VI NUMBER 3

Notes on THE RAINMAKER ( wi th scor e excer pts ) Al ex Nor th

LABOR PAINS Roger Eden s

CURRENT SCORES

An as t a sia

Alber t Schweit z er

Heav K s r ll is n n M . A on e ow ,

THE WORLD OF JAZZ Leon a r d Ber nstein

Cover : Bu r La n cas er a s S a r buck in THE RAI MAKER t t t N .

i x i i Opin on s e pr essed in sign ed a r ticl es a r e n ot n ecessa r ily th ose of t h e Na t on a l F lm Mu sic Cou n cil .

Pu sh d b t h e Nat ion al F m Mus c Cou n c 1 1 E s 8 t h New 2 8 i m m i 7 o . Y P s d W H bli e y il i il , a t Y rk , N . re ent, illia a lton; Vice ‘ P esi d a n d Edi o M e L H m o e . S c G c W. M e . F e ssues e ch e h occ s on l u l e n r ent t r , ari a ilt n; e r tary , ra e ab e iv i a y ar wit a i a b l ti s, th r ee do s a n d n llar fifty ce ts . Example 1

Notes on THE RAINMAKER

Al ex Nor th

In composing the score for THE RAIN MAKER I was given an opportun ity seldom af forded me in t hat the general Story had great l warmth , simp icity and joy , with a genuine heart T n line . his was a pleasa t change from scores I l o have composed for fi ms of a more seri us nature,

with complex characters and plor .

As I read t h e script it occu rred to me that this r c Sto y would make a splendid vehi le for a musical, and my approach to the over - all film score was to suggest and develop thematic ideas that could ap B h n ply to a Stage production . y t is I mea that there were many moments that could ver y eas ily have W h u h been projected in song form . ith t is tho g t in mind I attempted to underline certain scen es " " with music that had the feel of unobtru sively

setting the moment for song . Perhaps this attempt s i is evident only to the compo er, but I bel eve it is essential to arrive at some sort of approa ch an d

direction before a n0 te is put on paper .

Because of the robustness of the ch ar aCter iz a s I n tion , tried to evolve music with a defi itive

l ll . American flavor , without being hi lbi y as such Al so the texture of the in strumentation had to be n et n t ransparent and thick and overpoweri g, ex

cept for rare moments of high emotion al tension .

Since the Story is straight forward and un com i a l n or pl c ted , I wi l attempt to delve into the mys reties of analyzing the musical excerpts ( This very

often can lead to pomposity an d pr et entiousness . )

E 1 in St xample is the prologue , which arbuck ( Burt Lancaster ) attempts to sell his stran ge wares T was to simple townfolk . his written as a musical

T h w . prelude to the Main itle , whic follo s it

Cop yrig ht 19 57 Fa m ou s Mu s ic Corpor a t io n o ht 1957 Fa C pyrig mous Mus ic Corpora tion ht Cop yrig 1957 Fa mous Mus ic Co rpora tion o ht 957 Fa m C pyrig 1 ous Mus ic Corpora tion

E xam ple 3

E xample 3. The Gentleman zie ( Katherine Hepburn ) is shyly and courted by Deputy Sheriff File ( Wendell

C opyrig ht 1957 Fa mous Mus ic Corpora tion Cop yrig ht 9 1 957 Fam ous Mus ic Co rpora t ion C opyrig ht 1957 Fa m ous Mus ic Corpora tion E 4 Go n t xample , lden Fleece , contai s hat ele ment of fantasy which is r efleCt ed in the person St a e t of arbuck , the rainm ker, which p rmit ed me to deviate fr om the diatonic writing to the chroma i n tic . This is the scene which Starbuck gives Lizzie " the name Melisan de This mus ic continues under t he scene in which he rela tes the Story of Queen li n H t i Me sa de , wife of amle who sa led across the

ocean an d brough t back the Golden Fleece . Frag ments of this slow waltz theme ar e used in Ot her n i stances , interwoven with music that applies to a different situa tion but retains elements of t he r o mantic world into which has been

ported .

ht 9 Copyrig 1 57 Fa m ous Mus ic C orpora tio n op ght 195 7 Fa mous Mus c or o a t on C yri i C p r i . o h t 1 957 C pyrig Fa m ou s Mus ic Cor pora t ion Example 5

E . xample 5 Young Lovers . This is established early in the film for the young S Jim and nookie , and is repeated with w in moments involving these t o.

C opyrig ht l 957 Fa m ou s Music C orpora tion

Example 6

o ht 19 57 F C pyrig a m ous Mus ic C orpora tion

CURR ENT SCORES

HE EN NOWS LL SO AV K , A I N ing expectations that lead directly into the pict ure . Of many men who have put their energies into film Music rarely underscores the terse dialogue that fills

G ; . B . much of the film there is no need for it orh the scores , eorges Auric is surely among the most knowing

H e S leading roles are tightly written , and dramatic tensions has musical craft and character of real tature , as well

- a as that Other rare and perceptive knack 7 a canny sense between the characters arise naturally from their t lk

. n of what will work that only experience gives . These and actions Arbitrary reinforcement by underscori g f h assets all make their efl ecr in the score for HEAVEN is avoided , though sound ef ects have t eir special mo W o NO S MR. L SON t h e ments, as when the Japanese approach the cave hide u , t K AL I , for most part of a freshly

. turned and inventive job . of the two Americans

W s Music in this film is as conspicuous by its absence hat is more unusual , Auric rarely underscore those tight scenes when Robert Mitchum is in thr eatening as by its use , for Auric has written with a discerning '

o . T o hand , in purp se as well as Style avoiding clichés to situations hese sp ts are usually a composer s field day , a o which film music like any music is prone . where music manages either to predict wh t is ab ut to u come or strengthens it as it happens . A ric chooses T his is evident from the opening titles , where the neither idea and lets the action tautly dir ea ed or chesrr al composer eschews lush , full sounds and Other make its own points . worn ideas of title scoring to build tension by less usual film F r . 0 means . Against background shors of a lonely raft on a Music does function several ways in the sho s one , it enhances the occasional panoramic, scenic w desolate sea , a mu ical phrase enters only to accompany

S c . each title for the time it flashes on the screen . ilen e of the tropical island where the story unfolds It is also

. used , though not too much , to heighten action , as in the fills in until the next credit, when a new phrase follows The chas e with the turtle or in t h e elated scene when Allison effect is arresting, commanding attention and form and the Sister fir st discover that the Japanese have left

the island . Music is used in another and most interesting way o R that has ro ts in the operas of Wagner . ather l a underscore dialogue itse f, Auric waits until fter a dra matic moment to depict with score the unresolved feel T ings of his characters . his is strikingly done in two On e sequences . occurs when All ison returns from the Japanese camp with food after hiding in a storeroom

. S all night to avoid detection ister Angela , alone and o frightened in the clammy cave hide ut, is worried , and

Deborah Kerr a n d Rober t Mitch um ’ ' upon Mitchum s ret urn t h e score intimates tender feel ALBERT SCHW EIIZER Louis de Rochemont As ings bet ween the two which are n or spoken or brought sociates Produced and di r ected by Jerome Hill Phoro e E n n N F a to the surface . graph d by rica A derso arrated by redric M rch C B h Wi . and urgess Meredit Music, Alec lder onductor , So r n li mewhat later a d u ken Al son, alone with the S ister after the Japanese have deserted the island, tells her of his afi ecrion and suggest s to her n or to take her l s The n n i s l l fina vow scori g inte s fie we l, in its brief ife, t r i o S the u bid feel ngs of b rh people as they truggle with Probably the mus ica l score for ANASTAS IA will S confiicrin n . e otio s and loyalties hortly before this , g m set some sort of a record for spareness an d un der srar e a n H t s hi s ' in a similar situ tio , John us on lips in one of l N r n con ment . A fred ewman s original backg ou d music

o s , o few bits of symb li m sh wing waves washing end m nl - n u th irt o six e ’ su es o y twenty seven mi tes and y s conds, in an d h u lessly out from the shore, muc as Mitch m s m os r l s in o and of it, as far as cou d be a certa ed fr m its hopes do . Auric has matched his music to this with a ib l n S s c l t often low dec e co tent, tem dire t y from the ti le c a left bit of synchroniz tion, the moods changing with n i for a so g , wh ch appears the first time under the m in the inward an d outward wash of the title . Th l . e o title s ng, a lush, melancholy melody , is too we l r s B on lli known by now , chiefly th ough record by Pat o e A touch of Galli c humor is also in this score . A ' an d Ot r h o n t son to n or t c hers , to need fu t er c mme , a ugh Marine, is exac ly a m lover , but he " ' ” e Do Sit U A T ’ do s have a bent for n t nder e pple ree N s few d Mr . ewman s music pur sue a ra atic situa — — m a tun e of t he war year s an d sin gs it dur in g the tions and un derlin es t hem in various moods ; other wise i u film . The n ts so g nds way into the nderscoring, too, fi the music is purely functional Impressive Russian Eas ter ne t l n in a swo len versio with heavenly violins , but with n or in music opens the fil m . Gypsy songs are heard only t i in sub le variations, ntegrated the texture and always sual l a the vi cafe scenes, but a so a thin thread in the

oo of th e n . T i in the m d mome t h s is more than a musi the l firsr ih ' background of cel ar scene where Anna is e a o i u s private j ke, for the tune grows to make its dra An specred by her exploiters . occasional crescendo as a mat ic poin ts as a rea l part of the score . door opens serves to remi nd us that we are in night T et her R club premis es . hese gypsy airs and ussian melodies s imilarly employed have been arr an ged by D A n Tcha ikov . s HE EN NOWS MR SON 20 th C Michel Michelet ance music by re ky , AV K , ALLI entury S r O rs u a ro r iat e R sky , Johann t auss and the occ rs at pp p . D m D t Fox eborah Kerr, obert Mitchu irec or, John l e U Thielm an n Hu t on G c C L spots ; it has usua ly be n arranged by rban s Music, eorges Auri onductor , ambert ' Cr edit for the score s main orchestration goes to Edward

B. l Out on Powel of this combinati of talents, a score a t u and all emerges that is le n, unob r sive perhaps the ER ALB T SCHW EITZER No o u d bet ter for borh qua li ties . great em tional n er pin n in g was needed for a story of such pa lpable make The film on Albert Schweitzer is a sincere tribute N n - Al l i . or e beli eve. cred t to Mr ewman for ov r play in a low key to a great m an of considerable but un ing his han d u spect a c lar accomplis hment. It is a slow moving pict orial Quaintance Eat on l e e on icm r es of review of his ife, l aning h avily p the l t on t him places where he ived it, ra her than pic ures of 2 r F B an N ST S 0t h C ox. m t hin in T A A A IA entu y Ingrid erg , doing any g those places . ( here are a few exce p A n Di t Ij t vak. B H le H e . Yul ryn er, e n ay s rector, na ole tions nota bly Schweitzer playing a Bach Prelude on ’ l N n O t i E B. Music, A fred ew a rches rat on, dward Pow the organ he rebuil t in his father s ch urch in his home m ell Russian music arr an ged by Mich el Michelet. to . The film wn ) makes some attempt to explore Dr . ' Schweitzer s philosophy with a few brief and superficia l R Recor ds: B Dor G Cares , Co ; St atemen ts in the narration Th e treatment of t he sub Pat oone, ; eorge ral oger W ll s H l MGM n Bo ecr is n a l i iam , Kapp; Leroy o mes , ; Jo es ys, j reverent, but esse ti ly undramatic even for a i t Gu C to S l c . t o l so d L ber y; y Lombardo, api l; core Album, A fred do umentary If his was intenti na , why select y namie a medium as the cin ema for such a quiet tribu t e ?

W t c t s i h such handi aps as hese, it is mall wonder that W ’ Alex ilder s background score fails to register . Con ceived largely in a pasror al style and this in borh t h e bucoli c and the r eligious conn otations it len ds li ttle t h n e r . of warmth, e ergy or excitement to p oceedings Much of t he tim e it is so far under th e na r r a rion as ro be inaud ib le . And ther e are moments when the camera wanders slowly over the Alsatia n or African coun try im th side, while the m ic remains too soft to enhance e

Scr i twise t s al film t e p , pic orially and mu ic ly , this m i d minds us that there is a li t to un er sra t em en t . D avid S. Rattn er

In gr id Be rgman a nd Yul B rynn er The heterogenesis of FUNNY FACE is qu ite a saga We immediately stopped everything and dug out the

F - s s G G . songs from the eorge and Ira ershwin score for the in itself ull of hair raising su pen e , and completely " ” 1 2 F F H A u lor hs Broadway musical of 9 7 unny ace . You can oratio lger , it wo ld give you a of laug and a B u t s s u u . ut oo imagine our delight and urpri e when we found that , few l mps in yo r throat it is also m ch long, s c dis n or only did the title song fit into our darkroom scene and probably too per onal , to be in luded in this How L Has cussion of t he mu s ical aspects of the plu m e . as if it had been written for it , but ong This Been Going On ? was completely righ t for the song h I think you should know , however , t at , from the Audrey sings alone in the book - shop to express her teac t he H conception to the eventual delivery at Music all , W tion to the kiss Fred has just given her . e found that f u c u " ’ h as . O s it taken almost two years co r e this in l des Let s Kiss and Make Up could alleviate a lot of the considerable delay when we encountered diffi culties in h F dialogue in the scene w ere Audrey and red quarrel , s but so " ” ca ting , even , when I contemplate it in retrospect , and He Loves and She Loves was quite ideal for the

s . E it is an astoni hing period of gestation ven elephants enchanting love - scene by the little Gothic chapel in the ’ don t need that m uch time! C F forest of hantilly , when red realizes he has fallen in A But now that it is finally in release the many months love with udrey . And probably the most delightful we lived with it and sweated over it have become a surprise was to discover that the lyrics of 'S Wonder " at , t , part of the past . It is now time for the exhibition and ful when sung by the lovers the finish of the pic ure F t h a . e would provide a charmingly sentimental summary of appraisal of the infant ortunately , advance p r a i al No S : p s has been highly complimentary . cigars have our entire tory s ' been pas ed , but being typical fathers , we are very, very You ve made my life so glamorous , ’ proud and enormously grateful . You can t blame me for feeling amorous

I am especially gr atful for the recognition and the Nor our S only did the lyrics fit tory so beautifully , praise that has been accorded the musical treatment of but the music itself was as fresh in its melody and as or . N s the picture only because it is a pha e of produc modern in its st r ucm r e as if it had just been written h u s , tion t at is q ite clo e to me but because I feel so expressly for the picture . It is certainly a wonderful strongly that, no matter how exciting the performances tribute to George Gershwin that the vast majority of his s or how dazzling the decor , a successful mu ical pic music actually belongs to no one specific period of song r efl ecr ture must importantly the success of its musical writing . I feel that you will concur with this when you

. treatment hear his songs in the picture . The UNN laurel for the success of the music in F Y The Gershwin songs comprised the major portion F CE s D s , , , We O A goe unequivocally to Adolph eut ch its musi of the score . did have to create three ther musical " ff u en cal director , and the brilliant sta of m sicians he sequences that we needed in the picrur e : ( 1 ) Thin k ” s h im C S listed to a sist onrad alinger , Alexander Pink to introduce Kay Thompson as the fashion editor " " C C n S . T e ourage, Van leave and kip Martin heir great 2 B ! in the beginning of the picture; ( ) onjour, Paris t husiasm s for the project, their musicianship and ubtle for the three principals when they descend upon Paris; " ” h s showmanship, have resulted in w at I con ider to be 3 On How To Be L and ( ) ovely , for the lesson in gla

. mor T was an outstanding and unique contribution to the picture Kay gives Audrey . here nothing in the orig ' t he NN F The inal score that could encompass all action that we At first it wasn t called FU Y ACE at all . property we had acquired from the author Leonard had to achieve in each individual scene and , actually , ' ' a Ger she S W these scenes demanded special material rather th n , was an unproduced tage play titled edding " B . Day . ecause the subject matter was so completely songs s modern and , because we wanted to give it a unique fre h Because of the length of our shooting sched ule ( we ness in the musical treatment, we thought only in terms New u were to shoot the York seq ences , interiors , at the of an original score with songs and musical sequences S H Paramount tudios in ollywood , then fly the entire carefully integrated into the script . company to France to shoor all the Paris sequences ) , H On e day Ger she was reading the scene he had just and , because our time with Audrey epburn was very written for Audrey Hepburn and Fred Astaire in the limited , we were compelled to rehearse and record every

- S D musical sequence in the picture in a period of five weeks photographic dark room , to tanley onen , the director , before the start of shooting . Considering that we had and me . In the scene , Fred , the . photographer , is trying to convince Audrey that she could become a successful fourteen separate musical spots , each with rather an or or chesrr al elaborate vocal and/ development , five weeks fashion model for his magazine . As he talks he is de a n d velopin g the negative of a picture he has just shot of to rehearse record was a frightening thing to con template . her . When she sees the print she is horrified and ex : Oh ! claims , no You could never make a model of We set up a rigid schedule for rehearsals that kept "

. . A that I think my face is perfectly funny Fred tells her . all of us on a run from morning to night udrey, Fred that what she considers funny he considers unusual f and Kay would report to my o fice, separately or together,

. D even lovely onen and I exchanged a quick look and , for song rehearsal ; next they went to Stanley Donen on " h u at the same time he s o ted What a great song cue! th e set where he would stage the s ong and plot it out " G s I shouted er hwin for the camera; then they reported to th e rehear sal halls Of to work on the dances . Fred usually does his own course , the best chance for real expression of this ' but l E L choreography , we a so had engaged ugene oring talent didn t come until we had finished shooting the

- t . W to create the choreography for the rest of the numbers . pic ure , and it was ready for the under scoring ith

its gaiety , its sentimental charm , and its colorful locales ,

- T s . his sounds a bit like an a sembly line technique FUNNY FACE ofi er ed quite an unusual opportunity ! r o It was And , because eve yb dy concerned the prin u s . for invention in its nder coring It also, purely time ci als S f , the creators , and the musical ta f felt a rap s . p wise , demanded more music than mo t musical pictures port among themselves and with the project, and made T - t here are fifty minutes of pre recorded music, and six y a w l ‘ ’ o , e Of i a s rt of g me of following the schedule were easi y mi nutes of book . these s xty minutes we felt that

. - T able to meet the recording dates on time almost fifty minutes needed under scoring . here were several scenes of con siderable length ; there were many We - had allowed a week for the recording , and it , T . he shorter ones timing, cueing, writing and orches

. too , had to have a fairly rigid schedule It was decided t " " t r a ing required six weeks .

B fir sr . to record the onjour sequence It was quite long , i D ' ut lized the largest orchestra , and was done by the three eutsch s use of incidental music in one sequence, T l . principa s his last factor was the reason we recorded the photographic montage , was of particular interest to this number first . me . It is quite an outstanding sequence in the picture , and one that we had taken infinite pains with in prep e Kay and Fred were old hands at r cording, but t he F aration . It is sequence where red photographs Audrey had never been before that frightening monster Audrey in her lovely new frocks , in various quarters of We S off the microphone . felt that, by tarting her in a S e Paris . Using a vengali t chnique he creates pseudo F number in which she worked with Kay and red , she dr amatic situations to get her in the proper mood for ' s wouldn t feel quite the panic that u ually comes with W n l each photograph . hen he fi al y achieves his mood , ’ We ' ’ one s fir St encounter with this formidable object . fil m h ” " he snaps the picture , the freezes at t is moment B On How To Be followed onjour with Lovely which and we see the acrual Still photograph of what he has h ’ S W Audrey sings with Kay , and t en onderful which T h taken . hen we see the various processes t at are used l she does with Fred . Actua ly Audrey never betrayed any in preparing the Still for the fashion magazine . undue nervous ness at all at least no more than is d It is a ten - minute sequence complicated and normally encountere at a recording session , but cer E ' ' t a in l or tedious to handle musically . ach vignette had to have y, by the time we had g to the song she does alone , " difi er en t n ec ess i ~ How Long Has This Been Going she was quite a approach in its treatment , and this ' ' The z tared recording each section separately . free e de an old hand at it completely relaxed , and eager to ‘ '

- H er c t h in a o h ad . e vice each vignette ls to be recorded separately , get it on the sound track performan e of song ,

- e i a . because the split s cond t ming of the action req uired the voc lly and visually , is enchanting

- o use of a click track , and als because it had to be moni The entire week of recording was a great thrill for tored through a reverberation chamber to achieve the ll a . B of us It is always very exciting to hear a song or glacial quality of the freeze itself . y an amusing inter routine you have been rehearsing for weeks come to life weaving of the two themes he had picked for Fred and " " " ' in s fi r St . u the orche tra , for the time Probably beca se it Audrey ( Fu n ny Face an d S played is the first positive example of the picture beginning to against the music he had selected for the bas ic mood of take shape ; also because it seems to be t h e sublimation D u s n or l each episode , e t ch has on y enhanced the under of all the creative talent that has been poured into it lor - s bu t lying p value of the equence, has come up with

. Wh during the rehearsal and planning period atever it a S tunning and origin al piece of music . is each new recording session is a time of great en t h usiasm , and gratified realization with much back patting and extravagant praise .

Some of the more outstanding back - patting must go : C to Van leave , for his vividly colorful orchestration of " B ! C ll onjour , Paris Alexander ourage , for the bri iant mu s ic h e created for the bull - figh t dance Fred does in " ’ Let s Kiss and Make Up Conrad Salinger for the ex uisit e q , misty mood he achieved in the pas de deux Fred " " and Audrey do to H e Loves and She Loves ; and Skip Martin for the knocked - out jazz with wh ich he backed up the electricity of Kay and Fred in the show - stopping " ' Clap Yo Hands Deutsch himself did the witty orchestrations for " " " T On How L hink Pink and to be ovely but , as musi u u cal director for the entire pict re , he deserves so m ci H i . s : more credit calm command of the orchestra , hi 1 efficient control of the recording itself, were certainly 0 the greatest im portance in finishing the week of pre H recordings on schedule . e is undoubtedly one of the H outstanding musical talents in ollywood .

Audrey Hepbur n s s C Ch E . So S Although he still had the as i tance of ourage and oreography , ugene Loring, Fred Astaire ngs taged

wa D u c o- h C s c t e S D . Van leave , it e ts h who ordinated all by tanley onen

- h u under scoring and gave it the unity it has in t e pict re .

Reco d: F MG I can only say again if FUNNY FACE s hould r Funny ace; sound track album , Verve

- s c s icrur e V l SOOl . emerge as a u ce sful musical p , a handsome part of the credit for that success m ust go to its m usical Six G R E u ershwin tunes , three new songs by oger dens contrib tion . and Leonard Ger she and a couple of exciting in srrum en Viva FUNNY FACE! u FUNN F CE tal interl des get top treatment in Y A , as D ! Viva Adolph eutsch this sound track recording proves . Considering the peo s ple involved in the mu ical part of the production , this

H c s . But FUNN F CE . Y A Paramount Audrey epburn , is s arcely urprising here the overall effect of

A Th s . c R E s u c . s . Fred staire , Kay omp on Produ er , oger den cas alne s , finish and hic gaiety reaches a new level

D S D . u G H irector , tanley onen M sic and lyrics , eorge and Audrey epburn , singing with her breathy , little girl

G . s u c S Ira ershwin Mu ic adapted and cond cted by Adolph voi e , is in piquant contrast to the high tyle of Kay h r a l D . Or c esr C S T eutsch arrangements, onrad alinger , Van hompson and Fred Astaire, especially when the star "

- C C S . u Bon in leave , Alexander ourage , kip Martin Additional trio is nited in Jour , Paris , a vivid American

R E L r h . c Ge s e . music and lyri s , oger dens and eonard Paris exploration number

THE WORLD OF JAZZ

Scr ipt Nores for a TV Pr ogr am for OMNI BUS

Leon a r d B er n st ei n

W e are going to try to in veSt iga te jazz only this But I find I have to defend jazz to those who say : R h t he u time as music . at er than following sual bistori " A - But - . It is low class . all music has low class origins , c U R New O cal approa h p the iver from rleans , " since it comes from folk music, which is necessarily et cetera we are going to in vesrigare the musical ih T in earthy . here has always been a certain shadow of out is nards of jazz , to find once and for all what it

s . dignity around mu ic, and the players of music As a O that sets jazz apart from all ther music . h h c ild , I had to fig t my family to be a musician , as did ’ Jazz is a very big word ; it covers a m ultitude of so many Others . I don t blame my parents particularly

h f . s ( L for aving balked at y jazz ef orts As I recall , I started , , m varieties all the way from the earlie t blues eadbelly , " ’ " G Mor n in B u D eat ood l es ) to ixieland bands , King out playing jazz by at the age of ten , banging out the O s B B G h . ( tune with one finger of my rig t hand while playing any liver Play the lues to swing bands , enny ood T 1 8 C H C s . man , 93 arnegie all Jazz oncert to boogie old note with my left hen , as my hands got bigger , " - O ( Lux L B W was playing the tune in ctaves , which made it louder woogie , Meade ewis , oogie oogie to crazy I " "

Th e C c S . But , ( ) o ( Lee till by the age of twelve, I had begun to discover bop Immortal harlie Parker to o l jazz , " ' As Lee h W sh little wrong chords for my left hand I say, don t , I Konitz Konitz wit arne Mar to mambo ,

h . t e s . is ( Perez Prado, Mambo and all re t It all blame my parents if this is what they had to listen to B . the time was fourteen , had formed a little band jazz , and I love it all y I I with a group of friends ; this was the final indignity for I love it for its : my parents . N A . atural expression of my times and my country . B . Players of music seem to lack the dignity of crea

B . . E of : Frank , open , uninhibited expression ven these tors music the composing art is hallowed , whereas i ts days , at coolest, or most restrained , it is still a per the players are only performers , pagliacci , mountebanks . s u sonal , ba ic emotional comm nication . T s c hi is espe ially true of jazz , which is almost completely ’ H u a player s art , depending on improvisation rather than C . E . u mour ntertainment in the tr est sense . It ” la on composition . really p y; with nores . W e speak of playing Brahms But a term properly applied to tennis . jazz is real But C . u . S Jazz is lo d so are ousa marches, and we ’ ' play . B don t hear complaints about them . And so is rahms "F ” S . E . D. O N riginal kind of emotional expression . ever irst ymphony nough of that h E u w olly sad or happy . ven the bl es h as a robustness B u D. ut the main arg ment against jazz has been that and hard - boiled quality that never lets it become sticky is . it not art I think it is an art , and a very special one . s - t h e s . entimental , no matter how self pitying word are But u u before we can arg e abo t whether it is or not, we On e S - u B ( tanza blues by blues singer , to gh delivery . essie " mu5 t know WHAT it is; and so I propose to share with S h E Bed B An d s ' mit , mpty lues the gayest , wilde t jazz ou s t he L y ome of things I know and love about jazz . et s s h s L s always eems to ave ome pain in it . i ten to this jolly Start by taking that blues we heard before and find out h H ' . or trumpet , and see w at I mean ( jazz by trumpet with B u B " what it s made of ( l es played by small combo . essie c L u A . Ole T rhythm se tion o is rmstrong, Miss hat is S E Bed B mith , mpty lues h : u u w at intrigues me about jazz it is niq e , a form of s ? expres ion all its own . Now what are the elements that make it jazz All s First of all there is the element of melody . mu ic But is based on scales major , minor, and so on . there is a special on e for jazz ( which is a variant of the regu

lar major scale you all practised as kids .

jazz this scale gets modified three times ; lowered

t h 7th : N a l i n i n bu t h l wn a i n t wo , and i g r g

Sounds terribly out of t une; but it is a real more in

In . an 0 ther musical lan guage . jazz it is right at home W ( Jazz lick ith quarter tone. )

Now u n t e so- all , j st to show how importa t h se c ed ” ' b r a lue no es are to jazz, let s hear that same blues pl yed n the n 0 tes l QNBLS without them , just usi g plain white of the

B St n t . a . sc le ( lues a za , clarine and rhythm )

But this scale is used only melodically ; in the harmony our unfl att ed underneath we still use old nores , and that ' ? ’ T n a . w here is something missing, is t there It just isn t j zz causes a dissonance bet een the tune and the chords . But ev en more important than mel ody in jazz is the

t Two as eCts : . Th a elemen t of rhy hm . p the beat is is wh t ’ you hear when the drummer s foor is beating the bass

a - u n s drum , or when the b ss player is pl cki g his ba s, or even when the pianist is kickin g the pedal with his All t e t two u foot . his is el men ary; there are or fo r of i in these beats to a bar , never chang ng tempo , or in Bu ’ t a tr ue . ( this very dissonance has jazz sound Jazz T t h e en d . metre, from beginning to of a piece his is lick . ) heart beat of jazz. But more in volved and more interesting is the T t rhyt hm going on over the beat . hese rhy hmic figures

' depend on somethin g called syncopa tion a word you d u u h h l mdtmla u . have often heard , but maybe were never quite s re of Th e best way to describe it woul d be as a heartbea t that l n i goes a ong steadily , and at a mome t of shock m sses i Jazz pian sts are always using that dissonance, and a beat . It is that much of a physical reaction .

there is a reason for it . They are searching for a more ' T n l n a ech ica ly , syncopation mea s the remov l of an all that isn t there at , but lies somewhere between two l T accent where you expect one , or the p acing of an accent ; . S notes it is called a quarter tone his comes traight h where you least expect one . In either case , t ere is the t h e l from Africa , which is crad e of jazz, and where The i t e element of surprise and shock . m nd and body u We quarter tones are everyday S t ff . can produce them s on d n p to this shock , either by compensati g for the on wind instruments or stringed instruments or with missing accent or by reacting to the unexpected one . the voice , but on the piano we have to approximate them by playing toget her two adjacent nores the two Now where do we expect accents ? Always on the

. ar e notes on either side of the quarter tone : first beat of a bar , on the downbeat If there two E l in in 1 S 2 . beats a bar, is trong, is weak xact y as E a i : . if r m rch ng left , right, left , right ven there are fou in l l n t u all beats a bar , it is sti l ike marchi g; al ho gh we S ll in : HUP have two legs, the sergeant ti counts out four ,

t . T l two, hree , four here is a ways a natural accent on ’ O E T i : s n 0 tes . N . a It s somewhere in the crack between the e two ke it away , and there is s mple syncopation ’ if H 1 2 4 1 2 4 : . r on Let s see I can sing you a quarter tone ere is an 3 , 3 , or do the reve se put an accent African rune I once heard in Tunis ; the last n0 te of the weak beats 2 and 4 and you will again ha ve

: 4 l 2 4 . n . 1 2 it is a quarter tone syncopatio 3 , 3 Now fa t T s us that we know the basic of syncopation , we he e are influences that come to from Indian and u B s . o can understand its s btler a pects etween one beat Arab sources via Africa . S the special jazz colourations S and another lie horter and even weaker beats; and when are very important too . these get accents the shock is even greater s ince the But our ' we have still not exhausted search for jazz u L weaker the beat you accent, the greater the s rprise . et s T . o elements here is one more , which may surprise s me s c take eight fast beat in a bar , and put a big a cent on n or . Did of you who think jazz is an art I refer to form . is 1 2 4 . . 6 8 the weakest one , which the fourth 3 5 7 s a you know the blues is a classical form , just as clas ic l : As you see , we get a pure rhumba rhythm as the sonata form ? Most people use the word blues to " " mean any song that is blue or torchy or low - down or ” - S W breast beating like tormy eather , for example . But S W n or tormy eather is a blues, and neither is " ' " " " " Moan in Low The The , nor Man I Love nor even B " T . irth of the Blues . hey are all popular songs The blues is basically a m in poetic form transferred If we play only the accented fourth beat ( plus the to music . It is based on a rhymed couplet, with the first F r B H . o : line repeated example , illie olliday sings downbeat ) we get a Char leSton : '

n . My man don t love me, treats me awful mea h ’ ' O . , he s the lowest man I ve ever seen

But : when she sings it , she repeats the first line, so it goes

' My man don t love me , treats me awful mean . The ’ Strongest syncopation of all is obtained by doing m ' tr at e e s . I said , my man don t love , me awful mean bOth : ' ' " " things at once accent a weak beat , and minimize Oh F e . , he s the lowest man that I ve ever s en ( ine

S . E : the trong xample in any group of four beats, the and Of h first is the strongest; so in a group eig t beats, the s T T S . . hat is one tanza of blues A full blue is nothing more first and fifth would get the accents herefore , we will than a succession of such stanzas for as long as the singer remove the fifth beat entirely, and put a wallop on the wea k four th an d we et : 1 2 4 4 - . ; g 3 3 6 7 8 . wishes

Did cou ler is you notice that the blues p in , of all ? v T abOut things , iambic pentameter his is as classic as

one can get . It means that you can take any rhymed cou ler m S p in ia bic pentameter from hakespeare , for 4 " example and make a perfect Macbeth blues : I will not be afraid of death or bane

T l B D . ’ i l irnam forest come to unsinane C ? W It begins to sound like ongo drums , doesn t it ith “ It makes a lovely blues : out syncopation , blues sound square

' W Of : ell , that takes care two very important elements But melody and rhythm . jazz would not be jazz without its special tonal colours the actual sound values you Th e ar . e hear colours various , but they mostly stem from

N . the quality of the egro singing voice For instance , L when ouis Armstrong plays his trumpet , he is only f L doing another version O his own voice . isten to an Armstrong record and compare the trumpet solo with ’ the vocal : I Can t Give You Anything But Love You can ’ t miss the fact that they 're by the same fellow and what a fellow !

B ut N O the egro voice has engendered ther imitations . The Of saxophone is in itself a kind imitation breathy , T a little hoarse , with a vibrato, or tremor . here are all the different growls and rasps we get by putting mutes T H on the horns . here is a armon mute on a trumpet : " G - : C ( lenn Miller , Adios And a wah wah mute ( lyde " McCo Su An d y, gar a plunger mute on the ’ Now : T Sam New B Tan if you ve noticed , each of the three lines gets trombone ( ricky , lack and - four bars apiece making in all a twelve bar stanza . There are many Other colours deriving from Afro But the voice itself sings only about half of each four T C o l . uban sources, b ngo drums , maracas the cow bar line , and the rest is fi led up by an instrument his

: Ru u lo B T fillin - u is bell ( Pete g , Jingle ells hen there g p called a break And here we have the O l n are the colours that have an riental f avour , the vibra origin of the i strument imitating the voice, the very R : ed Nor vo a . s phone and the plucked bass ( , soil in which j zz grows Louis Arm trong improvising

s u Of T ff s sophisticated art for li tening, now f ll of influence hey are all di erent piece , yet they are all in one '

Th e us B S . L way or another that same tune . jazz m ician does artok and travinsky , and very , very serious et s listen Th - - exactly the same thing . ere are infinite possible ver for a moment to a modern , cool , or what have you ar " " " ' : D B S H S Sue . rangement ( ave rubeck , ometimes I m appy sions of weet , for example Now Whether you call tha t weird piece cool or crazy or what we come to the most exciting part of jazz , for facr t o T s , : s . ever the is tha it is b rdering on serious concert me , at any rate simultaneou improvisation hi hap

The . pens when two or more musicians improvise on the mu sic . arrangement begins to be a composition '

T , same t une at the same time . Neither one knows what ake away the beat and you might not even know it s Wh ? B O but O jazz at all . y is it jazz at all ecause it is played by the ther one is going to do, they listen to each ther , O jazzmen on jazz instruments; because it has its room and pick up phrases from each ther , and sort of talk B f n or . O , together. What ties them together is really the chords in the soil jazz of ach " the harmony Of Sweet Sue When they play I think the key word to all this is the word cool . It Of c : l together it creates a kind ac idental counterpoint, means what it implies jazz used to advertise itse f as ' " " ' ff Th l c l t h hOt is O . e whi h is the germ of what we ca l e jam session . ; now the heat jazz p ayer has become a He an t l This business of improvising together gave rise to a highly serious person . may even be intellec ua H r - S D e tends to wear Ivy League clothes , have a c ew cut, tyle called ixieland , which is currently having a big

- H e S n . revival . O e of the most exhilarating sounds in all music or wear horn rimmed glasses may have tudied music Our D at a conservatory or a university . jazz man plays is that of a ixieland band blaring out its final chorus ,

H , a , eve on e . more quietly with greater concentration on music v lues all stops out , with ry improvising together ere " - B Str avin . He D S Sue Bix B tone quality , technique knows artok and is a ixieland version of weet ( eiderbecke , " He Bix B , o . , The eiderbecke Story Vol . sky and b rrows from them tends to avoid big But jazz is not all improvisation not by a long flashy endings; the music just stops when it is over . T AS v . S . a he has become cool , so ha e his listeners hey hot Much of it gets written down , and it is then c lled ’ Th s ; , an arrangement . e great day of arrangements were don t dance they listen respectfully as if to chamber B T S music, and applaud politely at the end . At irdland, for the hirties , when big tartling swing arrangements were a th e Of the Off ex mple , which is perhaps the jazz centre of the world , order day , showing the virtuosity of the so- C L B G there is an audience sitting in the called bleachers , great bands like asa orna, enny oodman , Artie

S D n Ot , . who do necessarily have a drink in their hands and haw , the orseys Jass is hard to write down ; there is ' n h no way of notating exactly those quarter - tones we talked who do or beat out the rhyt m and carry on as we did

u when I was a boy . It is all rather cool, and a bit mental, about, nor the various smears and growls , and s btle E ex er i intonations . ven the rhythms can only be approximated considering that jazz is essentially an emotional p

Of ence . in noration , so that much the jazz quality is left to ' ? t h m u ic W T the instincts of the player who is reading e s . here does this lead us in our investigation here a in S SO are those who conclude from all this th t here , the till , it works , because those instincts are deep and ' a m n li r n , . s e new jazz is the re l beginning of serious A erica genuine Let s to a good , solid swing arrangement " ” . - T Of S Sue as music . hat at least the American composer has his own of a chorus weet , we might have heard it ’ Can ? all 1938 : B G T s B G expression . this be Is it possible that the back in ( enny oodman , hi Is enny ood " C Ro H man and His Quartet ) symphonic works of Aaron opland and y arris W S Now : 1 8 all and illiam chuman and myself, for that matter remember in 93 we were dancing; and . are nothing but S tylized imitations of a European sym that brings up the most important point of all . Nobody ? S h so. phonic tradition ometimes, I must say , I t ink At seems to dance to jazz very much any more , except for : l mambo - lovers and they are limited to those wh o are any rate, we can be sure of one thing that the ine ' ? between serious music and jazz grows less and less clear . n . W athletic enough to do it . Ca you do it I can t hat ? We th e has happened to dancing We used to have a new dance have serious composers writing in jazz idiom ,

e . a : L Ho S and we have jazz musicians becoming serious compos rs pr ctically every month the indy , the hag, the p ’

Bi B - w Perhaps we ve stumbled on a theory S . No Peabody, the g Apple , oogie , usie Q we have ; ' But f , only dances you have to take lessons to do . All over the theory or no theory I recently found mysel

— . country dance - band leaders are reporting a falling off writing a concert piece for jazz bands It seemed to me n ; of weekly dance dates to almost nothing . a perfectly natural thi g to be writing I guess you " ” ’ What does this mean ? Simply that the main func would call it a long - hair composer s Statement of what "

o . l f he feels ab ut jazz It is cal ed Prelude, Fugue and O . T tion jazz has changed to pure listening his had to " R ff r seCt ion s : i s . It is in th ee short continuous a prelude happen . For one thing, the great development of the i recording industry has taught us to listen in a way we for the brass , a fugue for the five saxes, and then r ffs ll o . a But : for everyb dy In one way or another, it uses the never did before . even more i portant with the m ’ disclwsed advent of swing and boogie - woogie and bop our interest jazz elements we have , but doesn t try any in has shifted to t he music itself and the virtuosity Of its particular daring experiments . I hope you will feel it some Of the special beauty of jazz that I felt when I ; , performance that is we are interested in “what notes wrote it; and I hope that our investigation of jazz today are being played , how well, how fast, and with what ’ c lisren will help you understand a little more learly why I originality . You can t to bop intelligently and

Of . tOO think of it as a serious piece American music dance , murmuring sweet nothings into your part ’ ner s ear . You have to listen as hard as you can to hear ' Copyright 1956 by Leonard Bernstein . what s happening . " SO Th e W i i in in a way , jazz through its arrangements orld of Jazz was or g nally printed has begun to be a kind of chamber music an advanced VOGUE.

F I L M A N D T V M U S I C ( Formerly FI LM MUSI C ) Offi cial Publication of the National Film Music Cou ncil 1 1 EAST TH TRE ET ew 8 S O RK 2 8 . 7 , N Y , N Y . FI LLMORE 8 - 5 5 02 SUMMER 19 5 7 V OLUME X V I NUMBER 4

Th e Mus ica l Scor e t o Tbe Pr id e a nd t h e Pa ssi on Geor ge A n th eil ( w i t h scor e e xcer pts )

Cu r r en t Scor es Ar oun d t h e W or ld in 8 0 Day s Boy on a Dolph in

NOt es on t h e Scor e of A Fa ce in th e Cr owd ( w ith scor e ex ce rpts )

Mu s ic a n d t h e Wide Wide Wor ld

En cy cl oped i a B r i ta n n i ca Mus ic Fil m s

Film a n d TV Scor es on Lon g - Pl a y in g Recor ds ; Par t 1

Cr ed it s i n Cu r r en t Re l ea ses

ver Me a n m l h a t h e A Co : n d u es u l gr ea t gu n in THE PRIDE AND P SSION.

in i n i i a r il h th a i a l ilm M i n il Op o s e xpr essed in s gn ed a r t cles a r e n ot n ecess y t ose of e N t on F u s c Cou c .

P h h n F m s h w n W l m H m n t n Ne o 2 8 N . Y. P es de o ce u s ed b e N o Mu c Cou c 1 1 E s 8 7 t Sr. bli y ati al il i il, a t , Y rk , r i t, i lia a ilt ; Vi

F h h o a n e n s . P es d e n a n E o M L. m n e d c W b e . e ssues e c e ee d s d d e H o Sec G ce . M fi r i t it r , ari a ilt ; retary , ra a iv i a y ar , t r llar fty t " MUS ICA L SCORE TO THE Tbc Pr ide And Th e Passion

Ant h eil

I felt it a rare privilege to be given to com pose such a pictu re as THE PRIDE A N H SS O . ar P I ere, for once , was a l ge and let el : in S i p y authentic background pic ure , laid pa n ’ Of i s 1800 s h o lli h the earl e t , and wit a c mpe ng eart interest Stor y as well as a larger Story of th e Span ish people in revolt against their Napoleonic

S an i S l As it is a p sh tory , and as I be ieve that a motion picr ur e score mus t con jure up the very essence of the geography an d tim e Of its S tory as well as h ighligh t its every importan t dr amatic aspect I have tried to solve each problem as it ca me al ong in an intrin sic Spanish way; if I found that I was merely composin g dramatic music the r ee te n a S to fit scene, I it u til it bec me pan ish m t h e dra atic music to fit scene .

In BAR 9 E 1 for a of xample , inst nce, the theme of t he great gun of the pict ur e becomes in trin sically Spanish; it remains so for the t e ' " m ai n de th e r t s s . The un of pic ure core g theme , m incidentally , is one of the ain themes of the icm r e s ar p , for the gun is as much a t of this pic t r as o W u e any of our fine act rs and actresses . hen fir St is E 1 ik d covered , as in xample theme , it is l e a u a il l i a ferocious tiger, c ght by the t , ki l ng friend

as well as foe . It never ceases being terrifyin g hou h al o s t g it has its occasion gay mo d too , and l S u final y of victory for the panish revol tionaries .

S a G n . inatr , ra t

Cop yrig h t St a n le y Kr a m e r 195 7 Copyrig ht Sta n ley Kra m e r 19 57 Example 2 gives two version s of the ins ist ent Bar t h bolero theme , one at 3, and ano er ( in major )

at Ba r 13. This insis t en t bolero Starts unobtr u si vely at the near - beginning of the pict ure an d intermittently buil ds up into a final cr esce ndo of c r en d t vi tory nea the , during the great bat le of

Avila. It is the theme of t he swelli ng St rengt h t h e u i N Li of pris ng against apoleon . ke the gun b o n of theme a ove , nly one versio it is given here; all the them es of the score appear in many ver n u t t he r sio s througho t the pic ure, but bole o theme

l r h - t always remains a bo e o, in t ree four hs

0 ‘ 0

' 0 - 3

n e w

Cop yrigh t S'on le y Kra m e r 19 9 ura ( a an» )

C opyrig ht St a n le y Kra m e r 19 5 7

Ex.

Example 4 is t he love theme of Juana and Of Anthony . It also hovers in the background ' be Miguel s quarrels with Anthony , thereby also fir sr us coming, , an expression of jealo y over Juana , finally of reconciliation between the two men

fighting for the same great cause . It is a theme O which ften must be played at dusk , or night, therefore has a night - like quality of the Spanish plains .

Cop yrig ht Sta n ley Kr a m e r 195 7 Cop yrigh t St a n ley Kra m e r 1 9 57 Ex .

Th i n Example 5 . ough it s or an important c c u s s Of theme in the pi ture , I in l de ome ections " " F u sh the Knife ight beca se it ows , I hope , how . even in t he less important parts Of the score I constantly attempt to keep the m usic background intrinsically Spanish instead Of u s ing mere w n general underscoring . My objective as or mere l s c y to under core an exciting fight , but an ex iting Th Span isb fight . e same principle applies to the

un - s c battle and the g hauling equen es giving , I

- S t he a s hope , an all over feeling of pain of period , well as the dramatic significance and action Of the T s . E 6 picture hi would also apply to xample , " " The B Th u h t he s Be reak ro g Pas , and to the " Of Ch E 7 h ginning urch Procession , xample , w ere t he authentic procession music Of Spain of t he period has been incorporated together with t he Of u t he menacing feeling the great gun nder float , as it enters in Bar 9 .

C opyrig ht Sta n le y Kra m e r 1 9 5 7 EL ?

I h x ncidentally, wit the e ception of the well known British rune used as a theme for Ca ry G A h a o all rant ( nthony ) w en he is l ne , themes , B h S Ot h r . i an panish or e wise , are original y t s I me that I have preferred to compose my own Spanish themes with whi ch I coul d work more easily than E t he t h e F h to rese arch them. ven theme for renc r n or S i h is an original theme and is, of cou se, pan s t h e a in color or intention, but rather for s ke of h a c s . Ot men cing ontra t herwise I ope , that I have S a i s written a score of p n sh mu ic that, despite its use of the well - known Span ish rhyt hms and t ypi

cal t e n . harmonies , is never h less i trinsically my own

THE PRIDE AND THE PASSION Stanley G t U i t Ar ist . Ca Kramer Pic ures ; n ed t s ry rant , Frank Sinat ra Prod uced and directed by Stanl ey G e il C Er Kramer . Music, eorge Anth onductor,

5 G . O ch s a i on Al ed P . ne t old r e tr t , fr erry

m the Record: Th e Pride a n d the Passi on ; Musi c fro 7 An he ha s w n o W 8 . Geo Soun dtrack . Ca p it l 3 rge t il ritte ' S a n K a me s h s o i ca d am an d a big score for t ley r r i t r l r a, thi s album gives a n excel len t accoun t of i ts scope an d a ni h h m s an d n s um n a t i on co o t he q ual ity . Sp s r yth i tr e t l r n d d d amat c m usi c w h ch has an alm os o e a c sple i ly r i , i t p r ti ' The m s so te mom e n s ar e re cha ract er a t ti m es . fil f r t p rese n ted by a h us hed lovely ai r for oboe an d gu ita rs " " Ca m at N h an d hr ee wistq m l odi ous se p ig t , t y e g m n s x ress of the a iot an d t he two men e t . e p ive girl p tr w A fl am en co e u n ce has s n ac ho love he r . s q e a triki g ' com pa n i m e n t as the si n ge r s ha rsh voi ce is caught up i n ' t he soun d of the ca s n s a n d m bo nes the dan ce s ta et ta ri , r

- hee cl c s the c s of the on l ooker s . o ces ar e a so l i k , rie V i l effecr ivel y used i n th e reli gi ous chor us of a ch u rch p r o cess on a t El Es co l w he e x eme e n si on is fl cted i ria , r e tr t re e ' ‘ by ba ckgrou n d m us ic i n t he com pose r s most di ssona n t " " " " " Mai n T The Kn i F h R scue of s e . The tyl itle , fe ig t , e " t he Gun h a n n dom t b o hat i s omi z ed , ave i i a le vig r t epit " " i n th e se ect on Th e P de a n d t he Pas s on Bo o l i ri i ler , a

m us i ca l sum mi n g up of the sp iri t of the story .

C opyrig h t Sta n le y Kr a m e r 1 9 57 CURRENT SCORES

He A ROUND THE WORLD IN 80 DAYS colorful score . goes with the famous travellers h u Eu U S t ro gh parts of rope , Asia, darkest nited tates , RO ND THE W RL A U O D IN 80 DAYS has been back to London in the course of the twelve numbers ’ described in superlatives by almost everybody who h as e in this album . Th film s popular main theme is h eard ' u ’ had anything to say about it . Victor Young s m s ic fits t u s from time to time , as is Passepar o t s bright, bu y little " - s Th c this super pectacular film admirably . e s ore achieves u S R B n mber, and the encouraging trains of ule ritannia . eHeCt s s : its by imple and direct mean it is bright, tune u Mr . Yo ng conduct ed his entertaining score . c ful and eminently des riptive of the actions and locales . Reco d; A ound tbe Wo ld B C D By using well known tunes the music matches the feel r r r ing rosby, ecca;

L W C l Don C s ABC - ing of discovery with which the audience follows the awrence elk , ora ; o ta , Paramount ; E F s RCA Mon t ovan i L n picture : part of the fun lies in recognizing well known ddie i her, Victor; , ondon ; Ja e Awa C H T . Out Star s as s Morgan , apt; Jack askell , hunderbird y . they appear in the cour e of the film in various

West h . , T incidental roles . In a similar manner the m us ic estab Vaughn Monroe underbird lishes an imm ediate rapport as Rule Brittania and Br i

G ; Au r es B La S ‘ tish renadiers p de ma londe , orella , BOY ON A DOLPH IN D C Yankee oodle, La ucaracha and many more tunes a Set A p ss through the score . in thens and the little islands in the Aegean Sea BOY ON DOL H N ua , A P I has a vis l impact that A sumptuous - sounding waltz ( recurring as a theme is rare even in these days when spectacular scenery and u ) s thro ghout the film establi hes a festive feeling from H Fr iedhofer color are taken for granted . ugo has writ ’ the outset . It suggests at the same time the Victorian ten a score that is an essential part of the film s Strong " . Th period in which the action takes place e music fol h s . T e Bo D ae thetic appeal theme song y on a olphin , c : lows closely the locales through whi h the travelers pass c i which opens the story , re urs throughout to mainta n F S Far E s W W s rance, pain , India , the a t , the ild e t are O the romantic feeling of the action . nce it is heard described in the - musical style that has become familiar unexpectedly in a Latin rendition by a small dance through long association with travel and adventure orchestra in a cafe .

. ROUND THE WORLD IN 80 D S films In A AY , a h as u r however , the f miliar technique been raised to an In the extraordinarily beautif l unde water and scenic u u im appropriately magnified and amplified pitch of bril seq ences , the music holds eq ally impressionistic lian c - e. t h e . As a rousing finale to the film credits for portance It is never over written , although it would the fifty Stars skip across th e vast screen in t he form have been easy for the composer to get carried away

h T . of a series of animated character sketc es . hemes in these open sections heard throughou t the film bounce through this last sec The u u l s u nature of the film demands an n sua o nd , tion , jumbled together in a flashing kaleidoscope of in t m en t a n Fr iedhofer borh in melody and S r u t io . Mr . sound . frequently uses a solo woodwind instrument playing a " S ecmcular des p is also the appropriate word to minor melody ( augmented seconds , accompanied i cr T . be . he the physical sound of the score arrangements by guitar , tamborine and antique cymbals In certain are lavish and t he m ulti - channel recording must have sections the addition of violins playing harmonics con provided the engineers with a field . Some measure of tributes an eeriness to the overall tone . it may be recaptured in the home by listening to the Credit for the imaginative orchestrations goes to D . disc of excerpts released by ecca In the theater , of L N u h i E . s u r e r odu n dward Powell ionel ewman cond cts with cd o . The T co rse , the p is most impressive odd s Fivos An o an akis h h u ual finish , and wit c oreographer AO s c The y proces utilizes six magnetic tra ks . closest to F G so - Yianni leury has supervised the reek songs and it far has been the quality of the Cinerama sound . dances . In the Todd - AO process the film travels at 30 frames WILLIS SCHAEFER 24 per second , as against the conventional frames . For the performance at the Rivoli Theater in New York B L H 2 t F x A OY ON DO N 0 h C o . the s ix tracks were placed on a separate film which ran A P I entury lan La L D C W So . dd , lifton edd , phia oren irector, Jean in interlock with the picture .

Ne l c . H Fr i f r u es o edho e . O g Music, ugo rchestration ,

N c u - ss L . So E B. N ext to the word specta ular s per colo al . C dward Powell onductor, ionel ewman ng " " comes to mind to describe AROUND THE WORLD Bo D H Fr iedhofer y on a olphin , ugo , Paul Francis IN 80 D S . T k AY , and this time it really fits hat goes W s Tin T Mor a is . ebster; ba ed on Afto, music by akis r e r oducd on ! for the sound music and p as well ’ Record B o) l on a Dolp/ nn ; Music from the Sound FRANK Lewm T L T H rack ; Decca D 8 580 . welve selections from ugo ' Fr iedhofer s atmospheric score include the theme song ROUND THE WORLD IN 80 D S G l h A AY Michael sung by Mary Kaye , reek fo k melodies and rhyt ms, ’ - T D n n fl R fl t iv s u . . N Ca t i as N S e eC e odd avid iven , , obert ewton , hir and a quantity of most , mood etting m sic Ma n A . S cLa i e . D s ley irector Michael nder on Music, killfully used strings and the siren voice of Marni ”

N . Victor Young . Song : Around the World Victor ixon give the magic feeling of far away and long ago " H A Two The N Young , arold damson . of the numbers Acropolis and octurnal " a Fr iedhofer Se are especially provocative . Mr . has Record Around the World in 80 Dayr ; Music from ’ ' written the album s excellent program notes . S T Vi r u D DL 046 . Cto ound rack . ecca 9 Yo ng s liking d Bo h Reco on a Dol hin . t . for national music was an asset in writing t is merry , r y p Julie London , Liber y NOTES ON THE SCORE OF " A Face In Tbc Cr owd

T c sa h as h uS t S i here are some musi al people who might y t at tra, heard in anot er scene with j a few tr ngs

- S t F CE IN an d r the score of the Kazan chulberg pic ure, A A the usual brass and reed choi s and rhythm sections , THE CROWD t w l , is nei her worthy of an article , nor even and played some hat faster, and you wi l get some no T O h l ha a is n . exists . I am inc ined to agree somew t with both points tion of one ex mple of real tic scori g here are t er u o in t il su . T of view here is very little conventional scoring in the examples , too numero s to menti n de a , ch as

t h e r c i - movie, if by conventional scoring is meant using employing an a ranger who spe ial zes in high school

e o r s h - sch musical r s urces of the conventional orchestra, la ge, band arrangements to arrange one ong for a hig ool

a - t l a in sm ll, or medium sized . band sequence ac ua ly played by local b nds Arkan

- Of S ’ sas Missouri, whose lack absolutely tringent devotion E Kam n s m " " In line with lia fa ous accent on realism, 3 s d " ” to pitch produced , for my ears anyway , prettier oun the score of FACE is real istic to the point of non than the beautifully articulated tones Of Sousa at h is best; - ifi e istence in the above mentioned sense . More s ec x p - or the Strains of a Ca lypso type song in trod uced by t h e c : IOt l s l ally the p of the movie tel s of the ri e and fa l of - characteristic verbiage of a disc jockey ; or the inclusion a television personali ty whose seductive ta lents include — Of an elect ric organ in a r e orchestrated section Of the ' n . T fir S t singi g with a guitar hus , when we meet the Sc B h v S S herzo movement of eet o en s eventh ymphony , e s t i his r hero, he do s ju t hat ( in ja l ) ; be sings with guita , ' Of o TV or done deliberately, course , to acc mmodate a e l t n or St but r alistica ly , hat is, with the polished yle of i n or losr chestr a . Its sat rical intent, I hope , was on a fin ished singer but with the crude untutored ch arm B i i h is . eethoven, as he wh rled angr ly in grave N r an al of a real folksinger . o is there here y orchestr backing such as is ( or was ) found in numerous Holly On e of the m OS t unusual devices I resorted to in ls a bo S e n on e t h e n wood musica where y and girl, say, are trand d scori g the picture, and of most interesti g " " l s c l nn o o h t in a desert , sudden y find they are deeply in love , and mu i a ly , I ca t show because the rc estra ion " " - five ad- The l - o A F The C n . bur into song accompanied by an eighty piece was libbed tit e s ng, ace In rowd , a i h symphony orchestr is a blues , more or less , and I dec ded to ave it played

r Mr . a n a by th ee guitars, ( after Kaz suggested th t the L r S ate in the tory the hero and the girl who discovers whisd ed t i melody be ) , one rhy hm gu tar , one bass guitar - him in ch e . are having a drink together a ap juke joint S i as n ( four trings , tuned l ke a b s violi , and electric ) , H i t u ere we hear what we m ght ac ally hear in a real h a and one elect ric gui tar for con trast. And w en it c me i : - h l place of th s type a juke box record wit a typica ly a O t h e t r " " time to rrange the piece for the pening of pic u e , rockabill y tune played by characteristic regional I decided t hat beca use it was a blues I would let the F r n or ( Southern ) instruments . ( o reader s who may be ‘ i has l " " three guitarist s ad l b except for a little ick by the i i u u m us ic r or l fam l ar with c rrent pop lar a g , rockabil y An d s l i a bass guitar . so , instead of the u ua h ghly rranged i c des is a word of very recent vintage wh h vaguely t he i n all Ot a - pa rts for music a s, they g were le d sheets cr ibes t in i l l a kind of mix ure vary ng recipes of hi lbi ly t i r h con a ning the ba e melody , the c ord symbols , and the t - - a and rhy hm and blues music . Music l sociologists, if - cued in bass li cks ( A Face in the Crowd ) . i in such a thing exists , may be nterested the fact that " " il l i a h h lbi ly music is trad tion lly white music, and r ythm The the h s t he O above, plus w istle , was u ed at pen an d - t l blues music is colored , so hat rockabil y music is an Of t s o ing the pic ure and , with imple modificati ns , under in ter esdn fl t dese g re ection of the gradual rend towards g two Other scenes . r ega t ion today . This is al so seen musica lly in mixed An d l con ven now , fina ly , a word about the only s inging groups like the Mariners and the Del Vikin gs . ) The t ion a ll orchestrated pa r ts of the film . pi e comes " y

T l F CE is - his rea istic approach in scoring A seen to a clim ax when the long sufferin g heroine finall y

i film . W e and heard throughout the ent re hen, at an arly decides to break with her lover, and in a powerful scene , n S H , , m t h e h . point we are in a televisio tudio we hear a single she runs out of her apart ent into rainy nig t ere , n c l i u l r orga ( ele tric, of course ) nood ng in the backgro nd ; Kazan wanted the mus ic to take over an d so the regu a S S o in , S c be the tation is in the outh so the organist is no dl g orchestra was used. in e the scene indicated the " ” Or l ' i i S n C . a fam l ar outhern folkso g, indy , further a ong, i of s ginn ng the hero s downfall, the ame music was New TV TV in a scene in a big York studio , a typical e li h again us d , embel s ed, a little later on in a montage i s S tud o orchestra is een playing one of the songs in the sequence which created the knot tiest m us ical problem ' icm r e an a l , In t he p and here Kaz s re ism went so far as to ar of th e enti re picture . this montage we see hero range for the hire of an orchest rator wh o does a Iot of an d s n enter an elevator , then we see a light fla hi g on

- TV ! Th e work for one of the best known programs the three top floor numbers on an indicator as the ele e a n t v T s r sult was an orchestr tio so ypical that it sounded ator descends. hen there are intersper ed in the mon i ' l fted from the library of this part ia i lar program . u h e tage , q ick scenes showing the ero s fans b coming

' i h h im s n dis llusioned wit , and between these quick ce es, in t he w a Again, in a scene hero s sho y ap rtment we the numbers flashing on the elevator indicator as it con his - is i i an d find teen age wife l ten ng to the rad o, here Now us h t in uall . y descends , I decided to m icalize t ese the music was deliberately arranged in the s tyle of the ’ flas hing numbers with orchestra bells descending chto m usic often foun d in Jackie Gleason s lus hly arranged m at ica ll o e u c s u c l s c s a y, and over the aforementi n d m si al eq en e a bums, very li k trings overl id with one muted solo Th h previously us ed . is would ave been very simple - ld F . trumpet . ( An O ashioned Marriage ) except for th e fact that t he flash ing ligh ts on the eleva C a c t i l h in dimt or c ont t h s arrangement mentally , if you wi l, wit tor were ompletely out of any regular time W ha d h TV s h a . the same song arranged for the usual Studio orche sync roniz tion hat to be done , t erefore, with composer , was a great challenge , too , since I heard my u songs unfinished , or in the background , or witho t lyrics

- as t h e ( the title or non existent , happened in end of the picture where it was decided to have no concluding music at all! I was able to face the fr ustra tion and enjoy the challenge only because of Budd Schulberg ( with whom I e te the songs ) and Elia s Kazan, both of the e extraordinary men having that mysterious elan which makes one enjoy work and over

work . 1957 Re c u i © n n i k M s c Corp . A FACE IN THE CROWD Newtown ; Warner D E ifli t h N . B . Gr rothers Andy , Patricia eal irector , lia th e or , S Tom G help of the sound editor was to record these Tom G . s Kazan . Music, lazer ong , lazer and ch eStr a s bell separately on tape and then lay them in in Budd Schulberg . exact synchronization with the flashing numbers on the ' Reco d A Fa ce in thé C owd; S screen . I cannot possibly exaggerate the pains that had r r Music from the ound ' Tom G C W872 . s track . apitol lazer s songs get a variety to be taken to get this right, and how many hour of Gr if exacting work for a very simple efl eCt that will hardly of familiar trea tments in these selections . Andy t h u S n oriced! s ff c u fi roars out fo r of them in approved folk tyle , with be And yet like many mu ical e e ts , it wo ld T T s an easy rhythmic guitar accompaniment . here are three not be as good without . hi montage sequence was h excellent takeoffs on some current mus ical practises furt er complicated by the fact that in some of the “ ” si in Vit a ex u s Of a g g commercial , j Jingle , a swooningly q ick cenes there were a few words dialogue which " " - Old - F h f u over harmonized ballad , An as ioned Marriage , a fected the level of vol me of the background music, " n Ot bOth sung by a cleverly chosen girl trio; and Just Plain a unusual problem , of course, except that the mon F t he B B fiddle tage to be efl ecrive had to be of quick scenes and of olks put over by arefoot aritones with

- The s s c s s . r sawing ountry tyle trimming title ong , whi tled ve y short and rapid lines of dialogue , and the problem h sm ooch u n Ot to the compelling strum of t ree guitars , makes a dra was to make the music so nding, and yet too loud or too soft in the proper places Here is a selec matic opening .

c . E ( ) . tion from this sequen e levator Montage co d A Fa ce in the C owd Don C C Re r ; r ornell , oral ; ’

- MGM Hi Lo s C D Lee . c s Art Mooney , ; , olumbia; ick , Vik In losing, I must mention that one of the mo t Mam a Guita Don C C unusual aspects of FACE IN THE CROWD is the fact r ornell , oral; Art Mooney ,

MGM u La R s RCA . that it contains so much music ( t h e score and s ix songs ) ; Juli s o a , Victor

n m . T s and yet is a musical hi , while frustrating for a Sheet Musi c u F G Old J st Plain olks , Mama uitar , An F h A F C R as ioned Marriage , ace in the rowd ; emick

Music Corp .

Stri n gs

Trum pet s

Gu it a r

Pi a n o

S t ri ngs

Trum pet s

Gu ita r

Pi an o

© 195 7 Ren n ick Mus ic Corp . S axophon es

Trumpet s

Tr ombone s

Guit ar

Pi a n o

1957 Ren n c Mu s © i k ic Corp . Stri ngs

S axophones

Trumpets

Tr om bone s

Guit a r

Pi a no

Drum s

© 1957 Ronn iek Music Corp . Stri ngs

S axophones

Trumpet s

Trom bones

Guitar

Pi a n o

1957 Ren n c Mus i k ic Corp . MUSIC AND THE WIDE WIDE WORLD

Da vid Br oekm a n

Each time I lift my baton and lead the splendid NBC Orchestra into the opening theme of the WIDE WIDE WORLD , heralding an hour and a half of adventure and t he s I I thrills for millions of viewer , feel that am facing an adventure more exciting than any Other composer and F r conductor of this electronic age . o I embark on a journey which can only be compared to that of a helms man Steering thirty - four rowers in a frail craft down uncharted rapids at terrifying speed for ninety minutes , with scarely a moment in which to draw a breath . IF W DE W DE WORLD I I , were a motion picture of the same length instead of a live television show , the musical background would require about three months u s of careful work , incl ding ten days of scoring ses ions , But . I W W. each seven hours long write the score for .

W . h . in five days and nights It is orc estrated in four, read through by the orchestra in one session and played by them during a two- hour dress rehearsal on the Sunday morning of the show . T hen , with no more preparation than this , it is per formed on the air as part of a program of great com lexit difi er en t s p y, since there are six or seven egments

- fl un s which come from far g part of the country , utilizing ' as u as m an as many one h ndred television cameras , and y h An t h as sixty t ousand people in one show . y of e cameras c cue can bla k out , any of the people can miss a , any scene

h ' can run shorter or longer t an intended , planned and New York Symphony scored for .

The u h conductor m st be alert for t ese changes , which u H u come more frequently than is s spected . e m st be required in so smooth a manner that the right bar of able to communicate them instantly to his thirty - four music is always heard for the picture and act i on on t he musicians and they must be able make transition screen .

st u I To achieve this in antaneo s synchronization ,

must work with two different headphones , one supply ing the outgoing sound of the program and the Other hooked up to Central Control an d feeding me the con versation and in st r ucd on s of t he New York director and s all of the location directors . At the ame time I must keep one eye on t he script and the Other on the monitors sh n Ot t h e s but t he owing me only picture being teleca t , I u shots coming up next . m st instinctively be directing my score and bring forth a performance from the h orc estra .

I am sure that if I ever tried to sort out these complex was ities while the program on the air, I would stop cold F and be irretrievably lost . ortunately the orchestra and ss s I have achieved a bond , a togetherne , which is almo t W a s . e p ychic leap together over imp sse , emergency , s tOO miscue and mechanical cataclysms . I cannot prai e

highly the artists who comprise this orchestra .

On W DE W DE WORLD n Ot I I , we supply only u for e r oun d bac r oun d u m usical . m sical g , but freq ently g , as

well . When the San Francisco Opera Ballet performs at G G the olden ate , they are actually dancing to music we

are playing some three thousand miles eastward . And when t he Ringling Br Ot her s o Bar n um and Bailey Circus m u S band blares forth fro the winter q arters lot in arasota ,

New York Symphony an d S W W new o t Florida, we sneak in, in the same key, teal the march ide orld a pian concer o which had its " fir sr a a l C away after the few bars, bec use we are acoustic l y genesis on the program, and a tone poem, Four ities ” f a l f a m . O u e O better hal ed and more easily controlled Americ , which grew out of my m sica pictur s San S l La C New O e an d New Francisco, a t ke ity, rl ans If you could see t he Saturday run - through for ca meras se l al of the program , when no music is u d, you wou d re ize W DE WIDE WOR D how much the background score adds to the show , I L has provided me with r i l an d l o s p ovid ng the i lusion of authenticity rea ity and an wide, wide horizons as a c mpo er and it has given me emocion al impact which li fts the scenes from pedes trian the opportunity to write music of America in all its an d n t n coldness to something a great deal brighter more infi ite varie y of people, places, celebratio s and

occupation s .

s i E t I a n n And the score mu t do this without ntruding, without ach for night look forward to the new ssig me t, ' f E n becoming dominant With the exception O those the new stories we will tell. ach Su day that we go on instan ces where it is intentional that the music is the air I am poised for adventure with an orchest ra I

so e . featured, it is my endeavor to keep the background am proud to l ad unobtrusive and so in key wit h the scene shown that it B . c o e s D t o ( Mr ro kman is a c mpos r, and Mu ical irec r of n Ot all . is noticed at ' W NBC s TV program WIDE WIDE ORLD. ) NO Other task in music today is as challenging as this Recor d Music r om Wid e Wide Wor ld D B D o f ; avid roek I . s t w e s n one , feel sure uring the pa t s a o s I have R - A e 1280 . O t . C The man and his rches ra Vi tor , LPM written 40 hours of music a Staggering number Of e ca t on s titles of the programs whose music app ars here, indi te hemes, every po sible subject , from frogmen treading Mr B c an the range of subject . ro km must be prepared water to Vintners t reading The gamut has to cover . The fourteen select i on s include numbers as included one hundred Sal t Lake Cit y kids da ncing to a " " Da ( n ow New t al Of diverse as the gay Intermezzo for a y in May ballet written and played in York, a ba t ion " so cl osely identified with Mike Wallace and Nighrbeat tanks thun derin g along to a march composed to fit the " " Ca C n i t s nd an d i n the rlsbad aver s with its we rd elec ronic ou s, tempo timbre of the clank ng mo sters , and a jam " " G n s G n B the ser en e ra dma Moses the impres ive ra d se ssion on rooklyn Bridge . " W E W DE W Canyon Music . The ID I ORLD theme

- RCA in c i u n It has resulted in a long playing album for troduces the colle t on, and developed a co certo " Vi r cro Of o ar W t a . , made up the most p pul themes ( ide wi h Milton K ye as pianist, brings it to a close

s n i w h t rfi h d lt u n w r a p -i nb u i

David B roc kma n FILM AND TV SCORES

ON LONG - PLAYING RECORDS

Com il e a e Li m a cbe p d by J m s L. b r

Pa r t 1

In this second F LM AND TV MUS C cumulative "BELLE LE GR ND ( R 195 1 I I A epublic, ) Victor Young

s Of TV D DL- li t film and music on records , we find hopeful ( ecca 8060 ) signs that most scores of value are being recorded . BEST E RS OF OUR L ES THE RKO 1 46 Y A IV , ( , 9 ) W 1 2 - ith all record companies now making only inch Hugo Fr iedhofer ( Decca DL- 54 1 3) high fidelity records, some of the recordings in this list B LL OF D ORCE ENT RKO 1 2 I IV M , A ( , 93 ) Max may soon become Obsolete or be t e- issued u nder a dif S ( c LPM~ 1 170 ) Th teiner Vi tor fer en t number . e compilation is divided into three B RD OF R D SE RKO 1932 S seetion s : m I PA A I ( , ) Max teiner ( a ) scores from feature fil s, ( b ) music from ( Victor LPM - 1 170 ) a . short subjects, and ( c ) scores from television progr ms B TTER R CE Lux 1 P r a i M 50 G . et ss GM I I ( , 9 ) ( Th e title is listed first , followed by the producing E - 348 5 ' ) c or releasing company , the year of release , the omposer s BL THE S R T U s 1 45 R I PI I ( nited Arti ts, 9 ) ichard name , and the numbers of the records containing the Addin sell ( Camden CAL- 1 30 and CAL- 2 33; Decca . 4 . 5 music In many cases , several records are listed A 8 1 12 ) rpm record is listed only if the score is n Ot recorded BLOOD AND S ND Fox 1 41 G s A ( , 9 ) Vincente omez on 33 rpm disc, and is indicated by an a terisk Th ( D DL- 5 380 ) aft er the record number . e compilation is limited ecca in St r um en tal BLUE B RD THE 1 40 N to especially composed film scores and does I , ( Fox , 9 ) Alfred ewman

- n or include musical comedies or vocal theme songs . ( Decca DL 8 12 3) F h ‘ ilms listed w ich are available on 16mm film are BR E BU S THE C u 1 1 AV LL , ( ol mbia , 95 ) Virgen de " r eceded . p by an asterisk la Macarena ( Victor LPM- 1030 ) BR E ONE THE RKO 1 7 AV , ( , 95 ) Victor Young ( Decca 8 344 ) FEATURE FI LMS BRE D LO E AND DRE S IFE 1 54 C A , V AM ( , 9 ) ini

( MGM E - 348 5 ; C CL- 880 ) ACCUSED THE u 1948 e olumbia , ( Paramo nt, ) Vi tor Young BR DGES AT TO O- RI THE 1 4 - ( 95 ( Decca DL 5265 ) I K , Paramount, ) L n MGM E - 172 u 20 1 56 D ENTURES OF DON U N W 1 48 y Murray ( 3 ; Merc ry ) A V J A ( arner, 9 ) BULLET IS W T NG C 1 4 D - ( 95 Max Steiner ( Victor LPM 1 170 ) AI I , A olumbia , ) imitri T C CRL- 57006 MGM E - 3172 ‘ ADVENTURES OF HAJJI BABA ( see HAJJI iomkin ( oral ; ) BULLF GHTER AND THE L D R 1 1 B B I A Y ( epublic, 95 ) A A ) " " ’ ( - 1030 E NDER NE S Am kin o 1 S Virgen de la Macarena Victor LPM ) AL XA V KY ( , 939 ) erge Pro ' E T THE C 1 4 - C N U N 95 kofiev ( Columbia ML 4247 ; Westminster SWN AI M I Y, ( olumbia , ) Max S D 808 5 18 144; Vanguard 45 1 ) teiner ( ecca ) “ C T N FRO C ST LE THE Fox 1 47 LE NDER THE GRE T U 1 56 AP AI M A I , ( , 9 ) A XA A ( nited Artists, 9 ) N MC - 20005 Mario Nascimbene ( Mercu ry 200 37 ) Alfred ewman ( Mercury ) “‘ C TERED AFFA R THE MGM 1 56 ALL ABOUT EVE Fox 1 50 N A I , ( , 9 ) Andre ( , 9 ) Alfred ewman C CRL- 5 7065 MGM 7 - 339 ( Mercury MG 20037 ) Previn ( oral ; ) ' ‘ CH ON U 1 4 D T ALL I DES RE U 1 5 D L AMPI ( nited Artists, 9 9 ) imitri iomkin I ( niversal , 9 3) avid ieber C CRL- 006 ( MGM E - 31 34 ) ( oral 57 ) " "CH RGE OF THE L GHT BR G DE W ER CANO THE RKO 1 5 5 Ro W A I I A ( arners, AM I , ( , 9 ) y ebb 1 6 S LPM- 1287 - 93 ( Mercury MG 20 1 1 5 ) ) Max teiner ( Victor ) NER HOL DA C 1 - C 5 5 NN IFE 1 50 R Vat r o C CL 5 3 I AMA I Y ( inerama , 9 ) Morton A A ( , 9 ) oman ( olumbia 9 ;

- 20 - MG 0 - G 5 D c DL- 80 5 1 MGME 3485 u MG 20 1 2 3 ould ( Mercury 9 ) e ca , ; Merc ry ;

VX - 2 5 180 COBWEB THE MGM 1956 L Rosen m an Vox ) , ( , ) eonard AROUND THE WORLD IN 80 DAYS ( United ( MGM E - 350 1 - ST)

1 56 D DL- 9046 COC LESHEL HEROES Co 1 956 Artists, 9 ) Victor Young ( ecca ) K L ( lumbia, ) Muir ‘ W ALL BO TS U 1 56 S Mathieson ( London LL- 1443) A AY A ( niversal , 9 ) Frank kinner

C CRL- 7065 CO ANCHE U s 195 7 H B ( oral 5 ) M ( nited Artist , ) erschel urke B B DOLL W 1 56 H Gilbert ( Coral 57040 ) A Y ( arner, 9 ) Kenyon opkins “’ C CL- 8 MGM E 480 CO E TO THE ST BLE 1 4 New ( olumbia 95 ; 3 ) M A ( Fox , 9 9 ) Alfred "BAD AND THE BEAUT FUL THE MGM 1 52 man ( Decca 8 12 3) I , ( , 9 ) ' D Raksi n C CL- 62 D DL- 805 1 CONGO CROSS NG U 1 56 H avid ( olumbia 5 5 ; ecca ; I ( niversal , 9 ) enry Man MGM 31 34 ) cini ( Coral CRL- 57065 ) BAD SEED THE W 1956 N h CON UERER TH E RKO 1956 , ( arner , ) Alex ort Q , ( , ) Victor Young ( Victor LPM- 1 395 ) ( Decca B REFOOT CONTESSA THE U A 1 54 COUNTR G RL THE P 195 4 A , ( nited rtists, 9 Y I , ( aramount, ) Victor Mario Nascimbene ( ViCtor 20 Young ( Mercury 20 1 56 )

kin o 1 CR E IN THE STREETS A 1 6 B TTLE FOR ST L NGR D Ar t C . 50 95 A A I A ( , 9 ) IM ( llied Artists , )

' Aram Khatchat ur ian ( Classic Editions 3009 ) Franz Waxman ( Decca DL- 8376 )

ENCYCLOPAEDIA BRITANNICA MUSIC FILMS

’ Encyclopaedia Britannica Films has produced a second twelve : The Brass Chorr opens with the Son ata Pia n 1 E F t its 6 S O . o e G edition of mm films on the ymphony rchestra r by iovanni Gabrielli . Included in the String " " c - - o C Cbr ir tm a r Con ce to C Th e Available in olor and in black and white , and with s und hoir is a r by orelli , while " s h s : S O O track of good fidelity , t ere are five films in the serie ymphony rchestra presents , among ther pieces , the " “ h c s 14 Th Secon d Br a nd en bu on T e S O e S C ce t o B . Th e ymphony r he tra ( minutes ) , tring rg r by ach Percussion " " " " " " C The W C The B C and G S or chesrr al m hoir , oodwind hoir , rass hoir , roup in addition to using tandard nu bers , c in ludes some specially written demonstration material . There are only two criticisms of these excellent F . a m educational films irst, the camera does always various school levels as well as a complete hlm - continuity? highlight the narration with sufficient clarity , as when including the entire narration and the titles of the musical t h e contrast between violins and woodwinds is referred illustrations . The films were prepared under the guidance but c s R H D to the amera remains focu ed on the full orchestra, Of R h E . Professor alp ush , ead of the epartment of Music Education of the University of Southern California or when double reeds are spoken of but shown only in a h s illusrr a te S Los he s ot too di tant to a double reed . econd , the at Angeles, and were produced in Vienna with t use of trumpets and a Sax Tuba with rotary valves renders Vienna Symphony Orchestra . these important instruments almost unrecognizable to H All s S . five films provide a mo t interesting selection of American tudent audiences owever, these are minor

Th - l s c Wh m . e e s mu i al illustrations . ile ti e does not permit the points general , over all exc l ence of these film

Of - complete performance any of these , each film ends makes them welcome additions to the audio visual " ’ f

u Th W Choir . . e with a satisfying m sical finale oodwind literature of music education And , incidentally , they are features a performance of the Seren ad e for Thirt een good movies . AVID RATr NER Woodwi nd; written by Richard Strauss at the age of D S .

CREDITS IN CURRENT RE LEASES

’ h w D e t TOt . u Sa A CE IN THE CROWD . FA Artists ir c or , Andre de M sic, Paul h B S eft r . ' AROUND THE WORLD IN 80 DAYS tell and ert e A ED EY THE R Di N E . ' K , Fil epresentations BOY ON A DOLPHIN m

lm er B . L C Stoum en . E rector, ouis lyde Music, ernstein

CH N G TE S u F 20t h C Fox. I A A am el uller; entury ’ R DE AND THE SS ON THE P I PA I , F s D S . irector , amuel uller Mu ic , Victor Young, Max ‘ ' R NCE AND THE SHOWG R THE W . R s P I I L, arner T at . Steiner . itle song sung by N King Cole ecord R D O . irector, Laurence livier Music, ichard Addin Capitol .

. C . sell onductor, Muir Mathieson D DES GN NG WO N . I I MA Metro irector, Vin SAINT JOAN Otto Preminger; United Artists . cente Minelli . Music , Andre Previn . S lian D O . o irector , tto Preminger Music, Mischa p D T t ES SE 20 h C . D W K entury Fox irector , alter R : S . . C sky ecord oundtrack album , apitol L s r i . C Mock d e. O ang Mu ic, yril g rchestrations, E D R S ENTH SIN THE . E B V , Metro irector , onald C N . dward . Powell . onductor, Lionel ewman R N . . eame Music, Miklos ozsa E R TR E D Ro S S OUT . b F A IK Paramount irector, D SO ETH NG OF LUE . . M I VA Metro irector ,

. E B . ert Mulligan Music, lmer ernstein h u R B . R . ic ard rooks M sic, Miklos ozsa R E T D G N UNG E THE C . A M J L , olumbia irector , S R T F ST THE W D O . LOU S . PI I I , arner irector,

S . S . Vincent herman Music, Leith tevens B . F Wa R : W . illy ilder Music , ranz xman ecord G NF HT AT OK RR L a Di U G CO . u A I A Par mount S RC . oundtrack alb m , Vietor

r eCtor S . D T T , John turges Music , imitri iomkin . itle T AND THE B CHEL R AMMY A O Universal . S D T W s Ned . Rec ong, imitri iomkin and a hington D Fr S . irector , Joseph Pevney . Music, ank kinner " : C . ord olumbia So T Ra E . S ng, ammy , Jay Livingston, y vans ung H R D THE D G O . A r A i r r APPY A , Metro irector, ene B . R : C RC V c o . by the mes rothe s ecords oral ,

. T . o Kelly Music, Van Parys itle s ng sung by TH S B T D COU D E HE N GHT . I L I Metro irector , R M Maurice Chevalier. ecord : GM. R W . G S . obert ise Musical supervision, eorge toll OHNN TRE Di ' N D B s . S u5 t li ws l J Y MAI isney ; uena Vi ta H n Ne a G S . T o ong, g eorge toll itle s ng, r cr r R B e o . T S G . N h Br odsz k u , obert tevenson Music , eorge runs itle S C . ic olas , ammy ahn M sical numbers " y o L T G B Tom B S B R : M M S s ng and iberty ree eorge runs, lack . G taged by Jack aker ecord , oundtrack

. R : Dot D R A C . u burn ecords , isneyland , Victor alb m . L E B D . H H . E NT G THE . D ff IZZI ryna ; Metro irector , ugo aas Music H . VI A , Metro irector , Je rey ayden " ’ "

S . S Not For To Sa D Rak i Leith tevens ongs, It s Me , s n . y Music , avid S R W T Albert tillman , obert Allen ; arm and ender W W RD B S E 2 t U TH 0 h C . Di AY A , entury Fox Hal D B B avid , urt P . acharach . Vi i or V cas . L arlin Ct H e. rector, Music, eigh MEN IN WA R S U . D ecurity ; nited Artists irector, OUNG STR GER THE K N R O. D Y A , irector, John A l B . E nthony Mann Music, mer ernstein . Fr an ken h im r M u e e . usic composed and cond cted by ON E ON MY BAC E S U L o Ros n m an M K Y K dward mall ; nited e nard e .

F I L M AN D T V M U S I C ( Formerly FI LM MUSI C ) Offi cial P u blication of the National Film Music Council 84 W E T END A E N E EW 5 S V U N O RK 2 . 5 N . , Y , Y

UNIVE RS ITY 5 - 4404 LA TE SUMMER 19 5 7 V OLUME XVI NUMBER 5

TWO RECENT SCORES : t o Yu m a ea n n e Ba el s Geo e Dun in , j g rg g ( w ith sc or e ex ce rpts )

NOTES ON THREE SCORES : Tbe Str a n e On e Tw el ve An r Men Ken on Ho k n g , g y , y p i s Ba by Doll ( w ith th em e s ) COMPOSING FOR FI LMS; Ken y on Hopk i n s I n terv i ewed by G ideon B a chm a n n CURRENT SCORES Th e Pa j a m a G a m e Th e Su n A lso Rises Swee t Sm e l l of Su cce ss Lov e i n t h e A fte r n oon ” Mu si c for Y ou n g Peop l e Th e Su m m on i n g Of Ever ym a n ( w ith scor e e x cer pts ) V ictor Y ou n g Cliffor d McCa r t y

m a n TV or s n n - m Lim ba cher Fil d Sc e o Lo g Pl ay i n g Recor ds : Pa r t I I J a es L .

Co : Va n H e l n e s e n n or TO UMA ve r f i g t G l F d on th e Y .

O in on e r e s n a l i i l p i s xp s ed in s ig ed r tic es a r e n ot n ece ssa r ly th ose Of t h e Na tion a l Fil m Mu s c Cou n ci .

de n W l m H m on ce Pu b sh ed b t h e N o n F m Mu s c Co u n c 845 W s En d Ave New o 2 5 N . . P es li y ati al il i il , e t . Y rk . Y r i t il ia a ilt , Vi

P s n m W be e F ss ues e ch e h ee d o s a n d ce n s . e de a n d Ed o M e L. H on Sec e G ce . M . e fi r i t it r . ari a ilt ; r tary . ra a iv i a y ar , t r llar fty t

Example 2

C opyrig ht 19 5 7 Colu m bia Pict ure s Mu sic C orp . EM E a 3 x mple C u “m Example 4

Example 5

C opyrig ht 19 5 7 Colu m bia Picture s Mu s ic C o rp .

wAfl m w F

( 3- 5 _ l ap s )

Example

o ht 19 57 lum b a P ctu e Mu s C pyrig Co i i r s ic C orp . E xa mple 3

“i n i" i'

Cop y rig h t C) 195 7 Co lu m bia Pid u re s Mu s i c C a rp . Ex ample 4

Example 5

out so

o ht i 9 5 7 l m t C pyrig Co u bia Pic ure s Mu s ic C orp .

NOTES ON THREE SCORES

Ken y on H opki n s

TH E STRANGE ONE

The score is derived largely from a twelve tone row which occurs in strict form near

. S W the end of the picture tation agon .

o ht l 95 7 Ho z on Mu C pyrig ri s ic Corp . t i firsr THE STRANGE ONE C t C . Ben In h s case the twelve tone row was conceived , olumbia Pic ures orp f Di c ar ei n . G a R . G and the free devel opment of fragmen t s of it formed the azz ra, Mark ichman re tor, Jack Music

c e Ho k . bas is for the earli er cues and the Juke Box material Th e composed and condu t d by Kenyon p ins " " i r ow is not r : Th C ra use of a theme , in th s case a twelve tone , Reco dr e Strange One; Soun d Track Al bum. o l " ' " r t l i b k : u s CRL 5 7 1 32 . T G Ca n Co for the p po e of es ab ish ng a recogniza le tune for Joc o s heme eorge es, ral; " " " "

B Ca . The S On e : G l . Archie leyer, dence trange eorge I n the average istener It is merely a method for the com k “ i C C ; Ar B C e B l Ca t . poser to create the unity tha t any work of this ki nd nee ds ates, oral ch e leyer, ad nce ; il y May, pi ol " " " R Bud : H i Ca . Most of th e average li steners cer tai nly woul d nor rec ose Kenyon opk ns, dence " " o n iz e that t he tonal pieces i n thi s score grew out of the Sbeet Ma nic: The St On e Ho R l g range , Kenyon pkins , a ph

D las . H iz s twelve tone row . oug or on Mu ic Corp .

TWELVE ANGRY MEN

This film was fi rsr concei ved without any mus ic confli cr ( bar The bongo bent had to suggest the Then it was thought tha t the boy who was on tria l shoul d n ation ali ty of the boy without in te rfering with the mood

h a i t h e i the i the t . The o l i tes be broug t b ck nto m nd of viewer at strateg c of pic ure toral score is n y eight m nu , all times In thi s way it was hoped the j ury - room bas ed on the following t he me : scenes would n or become an in t ell argument with o out human c mpa ssion for the boy. A musical theme TWELVE ANGRY MEN Henr y Fonda ; United ' e on i the Ar ti scs H n F plant d the open ng shor of boy s face would . C . D S e ry onda, Lee J obb irector, idney to i h n u . n ki serve rem nd the viewer, w e played later , that it is L met Music, Kenyo Hop ns

always the boy who is on trial. I tried to create a t heme h l i ' ’ w ich wou d be s mple and easy to remember because Recor d: B oy s Th eme Orchestra and Chorus conducted fun Ct ion in r o£ n H i s C d of its the pictu e, but with a moment by Kenyo opk n a ence .

ht i 9$7 l o Ta l or Mu s ic Co . Inc. Cop yr ig rry y , B AB Y DOLL

t 9 l e m ic Mu s c r Re n te d b Pe r m is s on . Cop yrig h 1 5 6 by k i Co p. p ri y i o ht 19 56 b Re m c k Mus c o . Re n te d b Pe m s s C pyrig y i i C rp pri y r i ion .

’ W h s s - directors who don t make such allowances . hen they caug t mu ically . It is ju t played in a non dramatic “ finish a picrur e they say there is a weak spot ; we way to make a point to remind the audience of the

But . need music there when you get in the mix , they boy " ’ n ow n or usr say , too loud on the music, it s j got to be " B : W h - n u hen this appens, it is on a sub co scio s level , I a mood . In other words, the composer is supposed to ' us O supply what the director didn t put into the picture in presume . Have you ed a musical point in your ther t h e subcon sicous fir St scores to influence audience on a the place . level ? ' B : I m often disturbed when something dramatic in the H : THE STR NGE ONE l In A , the commercia melodies music marks a dramatic point in the film, because and the juke - boxes and the twelve tone chase which suddenly I am aware that this is a film , and part of the Th comes at the end of the picrur e are all related . e vicariousness of the experience is taken away . " theme u sed in the final chase is the t une called the W a H : T . e here have been long arguments about this h ve Strange On e used in a twelve tone form . If you

. all kinds of rules as to where we start and stop music listen to the album a couple of times, you can see the For example, a composer of the older school will tell relation ship of the whole thing .

h S s - u you you s ould never tart mu ic on a close p, because ? B : D it sou nds like violins playing over the shoulder of the o you re write the music for the album I would But TWE E ANGR s i person you are looking at . in LV Y assume that some adju tment is necessary when mus c ’ MEN we deliberately Started the theme on the boy s has to Stand on its own . '

face and it worked out very well . It s quite unusual , H U . H S L : sually we do a little editing If we have a bridge S . tarting without music owever, idney umet , the where just one chord is heard to emphasize a truck director , having come from television , is used to tech ff ’ ’ falling over a cli , naturally we don t put the chord

. He s niques that are a little bit different a fine director, in the album . Mostly it is a matter of blending cues . - t e . The one who does a great deal of p planning writer, ' W e have long tails on cues in movies, so they can be R R shoon n eggie ose , gave us a script that they handed ‘ g T Ofl mixed out . hen we just cut those tails and put right over to me as composer to work from , because O ’ the cues next to each ther , and generally speaking, it hadn t been changed enough to even make a new ' W Ot . you ve g development ith me , anyway, the more timing . complex developments come towards the end of the t B : Are there Other instances where your music does n or pi ture , and therefore the music makes sense in the ? directly accompany the image order in wh ich it appears in the picture .

R B : H : In THE STRANGE ONE. ecently my album of Are there many buyers of soundtrack albums among THE STRANGE ONE furnished the whole back those who have not seen the respective movies ? Th e S One . ground for a play on tudio music was cut ' I u H : don t know . A reviewer of one of my alb ms said and placed so that it fitted very well . It is that kind of T that people who had seen this movie would want the S . music because it trikes a mood here are places in ’

I . t film a record . don t feel that way about it In the pic ure the where I do dr matically catch things , but

- the music has one function ; in an album it has an mostly the music enhances the over all mood , which is entirely different one . pretty weird . I used a twelve tone technique which I '

don t use ordinarily in a theatrical l . fi m B : It would not be so different where the music was film B : How does composing movie music differ from com recognized as music in the original , such as a

. On posing for Other musical forms ? musical the other hand , thematic music which one is not likely to be humming on leaving the theatre, ' H : difl r e s . It quite a lot A composer usually sits down because it didn t stand out as music, would be likely

- with a thought out theme and develops it according to create a different response from a record . A theme

to his own feelings for form . In scoring films , he has heard by itself naturally rouses a different reaction

S - to limit himself by the topwatch , not only as to the than the whole conglomerate of sound and image .

time allotted to certain cues, but also emotionally ; the ’ music has got to be in accordance with the film con H : You mentioned themes I don t want any confus ion e Of TWEL E on that point, becaus what I think as a theme tent . It is a restricting kind of composing . In V NGR MEN might very well be a twelve tone succession of notes A Y , I wrote a little fugue for a character h E in many different patterns; maybe in inversion; maybe t at I thought would fit him very well . veryone said ' f We in retrograde ; maybe in twelve di ferent transpositions; it was one of the best cues in the film . didn t and out of that I will pick simpler elements for simpler look at it with the picture at the time , and I recorded u h But T sit ations which mig t be recognized as a theme . it . hen when we came to the mix to put it in the ’ ’ I don t believe in the old - fashioned beautiful t o film , it didn t vary enough with the mood of the

u u T s mantic type of melodic theme , played no matter what dialog e to be usef l . hinking it over afterward , I realized the fugal form I had selected already gave happens in the picture . ' me boundaries , and therefore I couldn t move freely B : You mean your theme is more a frame of reference . diolo u with the g e.

' H : T r hat s right, exactly . It gives e a eans of c eating B : This must be a constant problem in writing morion m m a form . picture music .

H : T - hat is true . Movie music is music that half way This interview was originally broadcast over Gideon ‘ a cue B c F L FORU develops and then the door sl ms and the goes a hmann s weekly radio program I M M, spon Bu TWEL R . t n or E NG ME out we .did score V A Y N sored jointly by CINEMAGE MAGAZINE and Fordham

a . U New S dr matically If you look at it and listen for the music niversity , and heard in York every unday at 9

l i - crure RM. S W E m you will see that a most nothing in the p is ever over tation FUV M t ) . THE PAJAMA GAME SWEET SME LL OF SUCCESS

The R A - R s l THE El B s C Ha i uin ichard dler Jerry oss mu ica comedy , mer ern tein and the hico m lton Q tet PAJAMA GAME has been grafted into a colorful and have combined to give the Hech t - Hill - Ia n caS t er produc creditable movie musical by that old Luther Burban k of tion of SWE ET SMELLOF SUCCESS a backgr oun d score A t h e T the r i . S G b tt . o the tage, eorge heir using many of p conveying sound and the feel of modern urban l fe ducti on numbers pretty well intact from the Stage mean s n t n there is a larger crop of songs and dances than is usual Modern jazz , in its very essence, contai s the e se rhyt hms and bur Sts of melody that fit wit h a Story of a in pictures . s e o n people who e hearts begin to b at , with h wever thi a ! H ' The He T H l . sun big songs , y here and ernando s ide blood , only as the night fal s on the town And the " ’

f nor tOO n as n i : u s o . away , su fer from a u ple a t bl ght they comes p in the town s alo ns were such hits when the show Opened that their fresh " " " U - t em oed an h t i H p p j , wit wire brushes put ng it down ness is a bit faded. Seven and a alf Cents and There t r for a guitar or a muted rumpet, plays against the hu ry Once W as A Man bubble well and the topper is still " " i an H ing taxis and the hurry ng young man, ( ambitious a . C H S Of . e the s me team eat , course arol aney l ads a H A U H t t combination of oratio lger, riah eep and Pre y trio through an old soft tap reca lling vaudeville days Boy Floyd ) who is t he proraganist of the Er neSt Lehm an

H n R S . Th fine S E r . S Miss a ey , ddy Foy J , and eta haw deliver their tory ere is a spor where ydney is feverishly ' an d a n c son gs dances with the t en of Old pros . John Rait se rchi g a paper s gossip olumn while Standing at a

- - - B ilia s n . sings well in fam r musical comedy male lead Style . roadway new ta d

W S tr n . B s a to ith typical, rather thin, tage orches atio s for Mr ern tein is parti l this idiom and has used it B THE G ME e Th e use n roadway flavor, PAJAMA A is a successful to advantage befor of an orga ized group ’ an transplanted stage hit that retain s in sight and soun d serves a more th easua l function . The quintet s recur ' n the c t t much of the theater feeling . Seven and a ha lf cents won t ring sou d pulls a tion oge her with t on e rather th an " " " " ’

G Do ca n h . B t he buy a ticket to Pal Joey or uys and lls , but it t eme y fit and by start , it s true , but that is frenetic

fin S . be a e smrt . nature of the tory THOMAS TALBERT F an d H l red Katz Mr . ami t on have pu t toget her some a m a ive cr l . S az t n me odies ome more j zy han eed be , but THE A GALfE W B s D Da PAJAM arner rother oris y, i e Y a . ou of a general p ec And , rest e sy ne ed nor suffer John Raitt Produced and di rected by George Abbott t h ofi ensive n t - S a hroug an crooner doi g the own crier bit and t nley Donen . Music and lyrics by Richard Adler in t he s ( Or n ? R O beh d credit , in fro t of s . N s R dl and Jerry o s rchestral arrangements, el on id e, B B an . l C H n . uddy regm Voca arrangements, harles enderso A good piece of work . " THOMAS TALBER‘I‘ Recor d: Th e G S l C Pajama ame ound track a bum, olum

2 10 . bia 0 1. 5 SWE ET SMELL OF SUCCESS Hecht - H ill - La nca ster;

U t . B r c T a n C i . DireCt or nited Artis s u t I n aster , o y urt s , Ma THE SUN A LSO RISES Alexander ckendr ick. Mus ic scored and con ducted E r B by lme er n stein. Songs by Chico Hamilton and Fred tz t C i H n ui n r et . ' Ka Fea uring the h co amilto Q Th e S tory is a film version Of Ernest Hemingway s " el lOS t 1 203 Recor ds: T S S about the generation of the 9 , leading a Jazz hemes from weet mell of Success “ s s B a C c H D DL86 14 S purposele s exi tence in Paris on the Left ank, fter the hi o amilton Quintet, ecca ; weet Smell " " "

H S . S n G e War . Fr iedhofer D DL r 86 10 . r at ugo has written a short o of uccess ou d track album , ecca cheS tr al c score a prologue and oda, some bridges , and ’ " " variations on Cole Porter s You Do Something to Me as the background love theme . Th e bulk Of the music is o played by a three piece dance c mbo, an accordion in a F Cafe S ru rench , a lone guitar t mming in atmospher ic S n pa ish cantinas, and various marching and concert ba nds at the bull figh ts .

The - or chesrr al s h l non mu ic is aut entic, and great y i a i s ec T ncre ses the feel ng of being on the p his , coupled t he c on with orchestral se ti s, makes a most interesting i ts score , whose color sh f in support of the changing scenes Of the big film . Credit for t he fine orchestrations goes to E l N dward Powel Lionel ewman conducts with finesse, and Vincente Gomez does a superb job playing the solo i gu tar background . WILLIS SCHAE FER

THE SUN A SO R SES 20th C r F T L I entu y ox. yrone Av a G d . D H Power , ar ner irector , enry King . Music , H Fr i edhofer . O E B . ugo rchestrations, dward Powell . G G uitar Music, Vicente omez Supervisor of Spanish C r . Co Music, Alexander ou age nductor , Lionel Newman LOV E IN THE AFTERNOON

LOVE IN THE AFTERNOON is a delightful pic l ture and , happily, the music sustains the mood tastefu ly W " throughout . Franz axman , mainly employing Fascina " G tion and ypsy czardas , weaves a delicate thread of The u . h mor and , towards the end , adds a touch of pathos wonderful quartet of Gypsy musicians who play through much of the picture contribute immensely to the enjoy

s . ment, e pecially since they can be seen as well as heard T i hey present true comedy in music, giving the r all in G C ’ accompaniment to ary ooper s wooing, solacing him in a hilarious drinking scene when he tries to forget the

. W whole thing Mr . axman stays away from lush orches c m tral sound , and concentrates on the quartet ( violins , y balum ) and background Strings and horns .

s Music of some sort is in con tant evidence , besides , ranging from the use of solo side drums as the room De Fer aud F. . . W . D R axman Fascination Marchetti , M y; service waiters at the Paris itz arrive and depart , " ' " ' ' C s Si Bon H B Hor n ez LAm e S c e t enri etti , Andre ; des Audrey s cello practise and a tudent rehearsal , to a s ene " " " l r n t L Ar i Char es T e e . H Poetes ove in the Afternoon , in the opera house where Miss epburn , high in the " " " Maln k Hot ec . ane , Paprika , Matty Music editor, . C balcony , spies Mr ooper entering with his love of the " T Robert Tracy . evening, while the orchestra plays the prelude to ris Be W F tan und Isolde it agner or ascination the ecor dr : F D S RCAViCtor D R ascination inah hore , ; avid musical support in LOVE IN THE AFTERNOON is C D arroll , Mercury ; Jane Morgan , Kapp; ick Jacobs , " ” great, and plays a major role in the comedy itself . C E S D . oral ; thel mith , ecca Love in the Afternoon , W H C u n N N oody erman , Verve; Jerry Vale, ol mbia; Fra k HAMILTON S. OH SO J " " W H D v C . e ol , olumbia Ariane , oody erman , Verve;

- - D R MG M. avid ose , LOVE IN THE AFTERNOON Allied Artists . Gary A Sbeet Mu i c: L r C H C . s C ooper , udrey epburn , Maurice hevalier Produced ove in the Afternoon A iane rom B W Co. . N. . and directed by illy ilder . Music adaptation , Franz well Music Inc , Y

MUSIC FOR YOUNG PEOPLE

F C Arts and Audiences , Inc . , has produced a series of ( rances Magnes , Madeline Foley , laude Frank ) , and " N Ed T s W i thirteen programs for ational ucation elevi ion Introduction to the oodwinds , with Yehudi Menuh n w that offers a fresh approach in bringing good music to as commentator for the Ne York Woodwind Quintet . h children , on a level which encourages t eir understanding Although directed to fifth and sixth grade pupils , the N C e and appreciation . Mrs . ina ollier, the producer, us s l . u programs wi l interest far wider audiences Perc ssion, - - " a living room as a setting, where well known ensemble the Pulse of Music , for example , will also appeal to a groups share musical experiences with some six or eight c S mu h younger group, whereas the fairly detailed tudy of The " " comfortably relaxed children . atmosphere created is The Development of a Musical Instrument ( Claude one of complete informality , heightened by the young C ss T B ' Jean hia on , homas rockman ) will hold even an srer s participation in the discuss ions which are an in . W adult audience ith the exception , perhaps , of the last re r al The ia g part of the program . mechanics of the mentioned , the programs remain within the attention str um en ts struc are demonstrated , and the fundamental span of young listeners, without being choppy or arbi ture of the music involved is brought out simply and Th t r ar ily cut off . e carefully chosen music gets well away u , Of . directly but witho t a suggestion talking down - from the over used selections common to music appr e cia t ion s acce Elements in Composition is presented by the New ses ions , which usually promote passive p h W tance rather t an Stimulation . York oodwind Quintet, and the clearly shown primary s S The elements are combined with a plea ant little tudy in s . series is presented by Art and Audiences , Inc , " T c tone color . homas S herman is commentator for Meet N E T Edu and ational ducation elevision , a service of the the B cat ion al T R Th rasses in which the players are members of the elevision and adio Center . e Center is New B York rass Quintet . Mr . Scherman discusses t he distributing the programs to educational television sta ff similarities and di erences of the instruments , their tions , and will make them available for classroom and s , techniques and a little of their hi tory and the Quintet group use after completion of their television schedules . s Th u . e Lee B illustrate some of the points he has made J illiard . N C obker was director, and Mrs ina ollier, executive " " S The s S c A s tring Quartet represents Voice of a tring Quartet . . . dire tor of rt and Audiences , Inc , was producer Mrs C u with a look at the qualities of the individual instruments , ollier is to be congrat lated on th is excellent progress H ending in the performance of a ayden Quartet . Other in her aim to make great art and talent available to " " The C G c programs in the series include lassic uitar with hildren . “ " Re T The C y de la orre , Meaning of hamber Music Mar y P owell

2 s Ex. e u es variation of this theme , r set and sung f T l by dif erent sections of the chorus . his a cappe la C s sequence is from the onfe sion scene, and serves ini t ially as a bridge from earlier action to the entrance into On the Cathedral . the screen this entrance is only indi cat ed s E r , the camera moving from hors of ve yman to

S - those of tained glass windows , and then panning down T ward to an altar . hus music must really effect the

s s . tran fer of cene It enters subtly, before the upward s shors, with sopranos alone singing a soft pa sage in their s ff low regi ter , thus avoiding any sudden and artificial e ect . Ordinary triads and a vocal line typical of the period “

S . move in unusual progressions, in the tyle yet fresh

' Ex The E . 3. music for veryman s journey to the h grave . T e theme has become more varied and remote by now but retains some identity as played in the organ

pedals . Abrupt modulations ( down a minor third ) fr e

quently suggest unrest, and finally , with the appearance of

, o o 0 0 0 . the grave the dissonances are res lved and the rgan

drops out, while the chorus continues the sequence and

further intensifies the mood .

These examples are by no means complete . Yet they

give an idea of the musical approach used in this score , and the newly - tu rned results it gets with what would R 4

seem to be ordinary materials .

THE SUMMONTNG OF EVERYMAN General UN Y' F . R D . H . ilms , Inc ; Produced and irected by ichard L illiard

D . E . 16 . 8 . Music by avid M pstein mm , color 3 minutes VIC TOR YOUNG

Clifl or d McCa r t y

Vicror Youn g was born in a tenement district of H a Ch iea o Au uS t 8 1 00 . is g on g , 9 parents were music l, and he began to play the violi n at the age of six. As a youth he went to live with his grandfather in Warsaw 1 1 an d S tudied at the Imperial Conservatory t here . In 9 7 he gradua ted with the Diploma of Merit and made his debut as concert violinist with the Warsaw Philharmoni c D W War i fir sr Orchestra . uring orld I he was nterned, R G a by the ussians and later by the ermans, and fter the n Ar mistice he left for Paris with his you g er sister Anna .

1 2 0 t New r In 9 the two re urned to Yo k, and the fol lowing year Young made his American debut as concert 1 22 i Ot Cl]€St t a H l C . violin st in al , hicago In 9 , on a ticket his e n sent by fianc e , he went to Los A geles, where he ’ became con certrn as t er at Sid Gr aum an s Million Dollar

. H Mr s n n T e . heater married, and Mr and You g retur ed Chiea o C t t he C n t a to g , he as oncer master at e r l Park D n Th eater . uri g the next few yea rs he ser ved in a variety of positions : as musical supervisor of vaudeville n E productio s, as arranger and conductor at the dgewater Be HOtel in Ted ach , and as viol ist and arranger for Fior ’ H t r . e a t t ito s orchest a hen bec me assis ant musical direc or ,

R. n a n B l under Louis Lipstone, of the e tire ch i of a aban z e a t o o and Kat th aters, and in this c paci y c mp sed and a 1 2 arr nged scores for many silent films . In 9 9 he be eam e aa ive in radio with the Atwater - Kent progra m in New 1 1 n con tr acr B n York, and in 93 he sig ed a with ru s wick Records as musica l director and made ma ny record

In D 1935 n H l ecember of You g went to o lywood, Victor Young where he join ed the music depar tment of Param ount A Picm r es . lso in 1935 he formed his own orchest ra a a R H s i t n De . e and signed a contr ct with cc ecords composed conductor , mu ical d rec or or so g writer, Young made L s i ib 300 . and directed music for several radio shows , ncluding contr utions to about films isted below are tho e " " The T x o S T e W u a or d sesrr al e ac tar h ater and the esti nghouse pro for whi ch he wrote original m sic, m de ar

r a r i ca l . U O g m, and made orchest al accompan ments for many rangements, or acred as musi director nless ther “

His m n . recording St ars. television chores included The wise indicated they were produced by Para ou t " ” B H B n H H l and uick our and eki s ollywood Music a l , “ e t e B c a r he the scores for two roadway musi ls , Pa don " " RED TS Our French ( 1950 ) and Seventh Heaven C I " H e also composed such symphonic music as Arizona ” " " " ” S 19 36 : An t bi n Goer Klo nd ike Anni e; F a n kie and oh n ie , t n C t G a y g ; r J ketches Manhat a oncer o and Leaves of r ss , R b i c F4 4 1 La d h Ge a d Ca bon r Tbr ca ca dr ( epu l ) ; y (wit r r r a a ) ; musi l settings for amatic record albums , and a long Hidea uc Gtr l " " " Cbm r for Love; Tbc Big B roadcast of 1 937; y , i l r l i S Sue S l st of popu a songs , inc ud ng weet , treet of " " D G C " "L T ” “ reams , host of a hance , ove Me onight , My 1 7 : Cbm a ne Waltz wi th Ph Boutel e Maid o Sal em ” " 9 3 p g ( il j ) ; f ; l H W W " Foo ish eart and ritten on the ind . Swi n Hi h Swi n La w w h Bout el e Tm O t be g g , g ( it j ) ; E Moon ( wi th Boutelje ) ; Mou nta i n Music ; Dou ble or Not bi n g;

’ - E Tide Wells Fa o On N 10 1956 e Vo ues of 1 938 ( Wan ger UA) ; bb ; rg ; , , g ovember Young died of a h art ' t S l H Tbr rll of a Li fe im e . C i . e attack in Palm prings, a f was under contract 1 8 : Am Gi l Re ub i c Tbc Gla dia t o Lo w- Co um o 93 y r ( p l ) ; r ( e l to Paramount for f urteen years , after which time he ’ bia ) ; Br eak i n g t be Ice ( Pr i n d pal - RKO) ; Peck s Bad Boy - oceas ion a ll Old i , y s . free lanced returning to his tud o wit b ( be Ci rca ( Pr i ncip aLRKO) ; Fli rt in g Wit b Fate ( Loew N A ineteen of his scores were nominated for cademy MGM) . A ’ n or f - wards, though it was until a ter his d eath that 19 39 : Fis her m a n s Wha rf ( Pri n cipa l RKO) ; Man of Con an Oscar was awarded to him for AROUND THE qfl est ( Rep ublic ) ; H er i ta ge of t he Deser t; Me n About Town ; WOR D IN E HT A H Wa y Down Scrub ( Pri n cipal - RKO) ; Gold en Boy ( Colum L IG Y D YS . is orchestrators were bi a Oa r Nei bbor s tbe Ca t e s Tbe Ni ht o Ni hts Tbc ) ; g , r r ; g f g ; , Sh uken ' legion but they most frequently included Leo - [J e na Kid ; Esca pe to Pa r adise ( Pri n cipal RKO) ; Gul li ver s an d n S Cut er . t to T a v - els a w n A be Li bt he: Foil ed . idney As composer , arranger , orches ra r, r ; R fi es ( Gold y U ) ; T g T h Le d oad t o e B k 1940 : Kn ights of th e Ra n ge (with Jo n ipol ) ; R DI SCOG RAPHY ( Co mpiled by Ma i n r d V . a er ) S in gapore; The Da rk Com m a nd ( Republic ) ; The Light of West ern Sta rs; Buck Ben n y Rid es Agai n ; Those Were the s 1 4 I Lo You So W e Sch an d About Mr s . Le lie ( 95 ) ve alt r arf Da ys; The Way of All Fl esh; Three Faces West ( Republi c ) ; h n Me cu MG2 1 2 his Hollywood Sym p o y . ( r ry 5 9 ) Un ta m ed; Rhyt hm on th e River; I Wa n t a Divorce; Moon " Ove Bu m a Da n cin on a Di m e A i se M Love Th ee Men Accused t he 1948 L n Rh hm Vi ctor oun a nd his r r ; g ; r y ; r , ( ) ati yt Y g o t t un t ed D cc DL5 26 from Texas; Ariz ona ( Colum bia) ; N r h Wes Mo Orchestra. ( e a 5 ) o Pol ce; Love Thy Ne hb . i ig r An d Now Tom orrow ( 1 944 ) In a Novem be r Ga rden Vi ctor Decc DL8 140 d h is O ch s . 194 1 : The Mad Doctor; Virgin ia ; Las Vega s Nights; Road to Youn g a n r e tra ( a ) a " Za n z ba Reach n or t h e Sun I Wa n t ed W n s Cau ht i r; i g f ; i g ; g And t he An gels Si n g ( 1944 ) Con certo Th em e Paul Weston i n the D aft; Kiss t h e Bo s Goodb e; Alom a of the South o 10068 y an d his O ches D n L n n P no. Ca r y r tra; ia a y , ia ( pit l ) a S eas ; Hold Back the Dawn ; Skylar k; Gla m our Boy . Aroun d t h e World i n 80 Days ( 195 6 ) Musi c from t he Sou n d ’ t Decc DL 46 1942 : The Rem a rka ble And rew; The Fl ee s In (with Leo Track; Victor Youn g a n d his Orchestra. ( a 90 ) ' Sh uken ) ; The Great Ma n s Lad y; True to t he Arm y; Rea p B e On e The 1 5 6 Mus c om the Soun d T c Mun ch rav , ( 9 ) i fr ra k; i the W ld Wi nd Ta ke a Lett e Da l n ; Sweate G l Be ond i ; r, r i g r ir ; y Decc DL8 44 Sym phon y Orchestra. ( a 3 ) t he Blue H oriz on ; Priorit ies on Pa rad e; The Gla ss Key; Fly i n g Bullfi h ter a nd t he L d ( 1 9 5 1 ) How S n e M ch M e Tigers ( Rep ublic ) ; The Forest Ra n gers; Road t o Morocco; g a y tra g it ill r um b a 8 1 n h s a n d Cho us . Co 5 Mr W s o the Ca bba e Pat ch S l ve ueen She m n a d his O c e t a ( l 39 ) a s. igg f g ; i r Q ( r a r r r i M H ea t el on t Dadd UA The Pal m Bea ch Sto B s o . em s c o ou n a nd ) ; ry; y r g y For Whom t he Bell Tolls ( 1943) Th e . Vi t r Y g Decc DL848 1 his Con ce t O chest a . ( a ) 1943: The Crystal Ball; You n g a n d Will i n g; The Outla w r r r " ' - l o Decc DL80 5 1 ( Hughes UA) ; Ch i n a ; For Whom t he Be l Tolls; Sal ute f r Forever Fem ale ( 19 5 3) Chan ge of Hea rt . ( a ) Th ree; Buckskin Fron t ier ( Sherm an - UA) ; True t o Life; b ta id n H or Love H os es; R h; N0 T m e f . ct o oun an d his Con g i g ig i Golden Ea rri n gs ( 1947 ) Th emes . Vi r Y g DL8 48 1 ce t O ch s . ( Decc ) 1944 : The Un in vit ed; And the An gels Si n g; The Gr eat Mo r r e tra a " t r ll And Now w Sho on E h Th e 1 2 The G s Show on m en The Sto o D . Wesse Tom o o G e s 9 5 ; ry f ; rr ; r ate t w art , ( ) reate t " " ' n T bo an d the P F en chma n s C eek M n i st o Fea P act call You s . Ea h Be um n c r r ; i ry f r; r i y r rt , a J pi g Ja k lrvi al t ara B c o LPM 0 18 m oun t Studio an d . ( Vi t r 3 ) l - A 1 4 : Out o Th s Wo d The G eat ohn L. C osb U 9 5 f i r ; r J ( r y ) ; " " a No P m o and oh n n Gu ( 195 4 ) oh n n Gu . A Medal for Ben n y; You Ca m e Al on g; Love Letters; H old J y itar J y it r rrie ara r n sh um b h is O ch s : E c Sh a u . E Co hat Bl nd K tt u ad M i r e tra ri e r, g itar ( gli ) l ia T o e; i y; Mas q er e i n ex co. DB349 2 ) a 1946 : The Blue Da hl a; Our Hea ts We e G ow n U ; To " i r r r i g p Decca DL8060 c J ubilee Trail ( 1954 ) J ubilee Trail . ( ) Ea ch His Own ; The Sea rchin g Win d; Two Yea rs Before t he 2 d m . D DL8 8 Le H n d of God , The ( 195 5 ) Th ( cc 5 ) Ma st; Californ ia . ft a e e e a " " ’ Decc DL8 2 8 d Lo L e s 1 45 Lo Le t s . 5 1947 : Sudden ly It s Spri n g; The Im perfect Lad y; Cal cutta; The ve ett r ( 9 ) ve t er ( a ) T oubl e W t h Wom en ( h Robe Em m e Do n ) ; Gold en 2 d r i wit rt tt la Med c ( TV) ( 195 4 ) Them e. ( Decc DL8 8 5 ) i i a Ea n s n con ue ed Wal k Al n " rr g ; U q r ; I o e. " F sh H cto oun My Fooli sh Hea rt ( 1949 ) My ooli ea rt . Vi r Y g 1948 : The Bi Cl ock; Stat e of the Un on ( MGM) ; The Em D cc DL 4 1 g i an d his Orchestra. ( e a 5 3) per or Waltz ; Drea m Girl; S o Evil My Love ( with William h c o Omar Khayy am ( 195 7 ) Music from t e Soun d Track. Vi t r Alwy n ) ; Bey on d Glory; Night H as a Thousa nd Ey es; Miss Decca h P m un ud o O ch s . ’ Youn g a nd t e ara o t St i r e tra ( l M ll o h al e h Tat ock s n s; T e P face; T e Accused . i i ( DL8449 ) ’ 1949 : A Con n ecti cut Ya n kee i n Kin g Art hur s Court; St reets " Ro n On e Mi n ute to Zero ( 195 2 ) When 1 Fall i n Love . of La redo; Son g of Su rrend er; Sa m son a nd Del ila h; Chicago o 8 Goodwi n an d Orchestra . ( Capit l 370 ) a Deadl n e Thelm a Jo da n M Fool sh Hea t Go d n i ; r ; y i r ( l wy " "

Ou r e Own 1950 Our e Own . ct o oun an d - ( ) RKO ) ; Deadly Is the Fem al e ( Ki n g Bros . UA) ; Sand s of V ry V ry Vi r Y g Iwo im a a l h is O ch s an d Cho us . ( D cc 2 706 7 ) J ( Rep ublic ) ; P id i n Fu l . r e tra r e a a " ” n A 1 Bon Decca DL8 060 c Pe ous ou e So . l , ( 95 3) ( ) 195 0 : Rid in g H igh; Bright Leaf ( Warn er Our Very ri J r y ir "

Own o dw - RK h - P oud a n d the P o n e The 19 56 1 On L to Lo You ( G l y n O) ; T e Fireball ( Fr iedlob ZOth Cen tury r r fa , ( ) ly ive ve

Fox Se t em be A ai r io a nd e u c o oun a n d hi s S n n S n s . ( D cc 299 68 ) ) ; p r fi ; R Gr ( Rep blic ) . Vi t r Y g i gi g tri g e a a d his O ch s Ma n t he 1 2 Them s . c o oun an u e , ( 9 5 ) 195 1 : Belle Le Gra nd ( Republic ) ; Paym en t on Dem a nd ( Skir Q i t e Vi t r Y g r e Decc DL 4 1 1 t r a . 5 - - ( ) ball Man n i n g RKO ) ; The Lem on Drop Kid; Appoi n t m en t a a With Da n ger ; Bullfight er a nd t he In dy ( Republic ) ; Th is Is Run of t he Arrow ( 19 5 7 ) Music from t he Soun d Track . Or Decca Korea ( docum en tary ; Republic ) ; A Milliona ire for Chri st y chest r a Con ducted by Con stan ti n Bakalei n ikofl . ( ( Fr iedlob- ZOt h Cen try - Fox) ; Hon ey chil e ( Republi c ) ; My DL862 0 ) Favor ite S The W ld Bl ue Yond e R u py; ( e b c . n n th i r p li ) Sam son a n d Delilah ( 1949 ) Them es . Vi ctor You g a d e P m oun d O ch s D DL6 7 S u o e . cc 00 19 5 2 : The Great est Show on Ea rth; Som ethi n g t o Li ve For ; ara t t i r tra ( e a ) An yth n Can Ha pen ; The u et Ma n R ub c Scu a Se ch n W nd The 1 46 The S ch n W n d c o i g p Q i ( ep li ) ; r ar i g i , ( 9 ) ear i g i Vi t r m ouch e MGM The Sto o W ll Ro e s W n e Decc ( ) ; f ( oun a n d h is O ch s Tom m Do se om bon . ry i g r ar r Y g r e tra; y r y , tr e ( a On e Mi n ut e t o Zero ( RKO ) ; Th un derbirds ( Republic ) ; Bla ckbea d the Pi at e ( RKO ) The Sta ( Fr iedlob- ZOt h r r ; r Shan e ( 19 5 3) Th e Call of t he Faraway Hills ( Decca " Cen u - Fox t ry ) E Me cu MG20 12 R cha d DL805 1 ) b; yes of Blue . ( r ry 3) i r

19 5 3: The Sta rs Ar e Si n gi n g; A Perilous J ourn ey ( Republi c) ; Haym an a n d hi s Orchestra . Fa W nd t o Ja va Re ub c The Sun Sh n es B ht ir i ( p li ) ; i rig Som ethi n g to Live For ( 195 2 ) Alone At Last ( Decca ( Republic ) ; Sha n e; Li ttl e Boy Lost; Forever Fem al e; Fl ight DL8 0 5 1 ) b

Nu rse ( Republic) . S The 1 5 2 Moon h Se en de D cc DL8 0 1 b tar, ( 9 ) lig t r a ( e a 5 ) " " 19 5 4 : Th ee Coi n r i n the Foun tai n 2 0th Ce n tu r 'Fox u S c Ai r Com m n d 1 h Wo d Is M n c o r ( y ) ; J trategi a ( 9 5 5 ) T e rl i e . Vi t r b lce T a l R u c n o k n ood ut r Lesl i r i ( ep bli ) ; K c o W ; Abo M s . ie; oun a n d h is n n n s D 2 2 Y g Si gi g Stri g . ( ecca 9 5 3) a j ohn n y Gu ita r ( Republi c) ; Drum B eat ( Warn er " h D c D 1 T un derbirds ( 19 5 2 ) Wi n te rtim e of Love . ( e ca L80 5 ) b oubl e i n t l n " Tr he G e ( Republic) ; The Coun t ry Girl . Un n ed The 1944 S e b S h D cc DL8 2 8 5 d i vit , ( ) t lla y tarlig t ( e a ) 19 5 5 : Ti m berj ack ( Republic ) ; Son of Si n bad ( RKO ) ; St rat e a 78 r pm or 45 r pm di sc n ot i n cl uded i n LP album . gic Ai r Com m a nd ; The Left Ha nd of God ( 2 0t h Cen tu ry b C n em Rh sod s ct o oun an d h is S n n Fox ) ; Th e Ta ll Men ( 2 0 th Cen tu ry - Fox ) ; A Ma n Al on e i a ap ie Vi r Y g i gi g R S n s . ( epubli c ) . tri g " c Ho wood Rh psod es c o oun an d h is S n 19 5 6 : The Con queror ( RKO ) ; Th e Ma verick ueen ( Re lly a i Vi t r Y g i g i n S n s. p ublic ) ; Th e Proud a nd Profa n e; Th e Va ga bo K in g; The g tri g

B a v On e K n B - K e ( os . R O A ou nd t he Wo ld i n E ht d Pe s on r i g r ) ; r r ig y arl Velvet Vi ct or Youn g a n d his Orchestra.

Da s T d - A ' y ( od U ) . e Vi ctor Youn g s Musi cal Sketchbook Th i s album al so " The Bu t K t t 19 5 7 : s er ea on S ory; Chi n a Gat e ( com pleted by con tai n s Arizon a Sketches on wh i ch Param oun t based a “ Max S e n e ; Fu - 20 t h C n u - Fox) Om a Kha a m sho sub ect a n d M n h n Conce o wh ch com ses t i r ller e t ry ; r yy ; rt i , a atta rt i pri

un o th A - R f e ow Fu e RKO . hem s h we w i t n for m o on c u c un ds rr ( ll r ) t e t at re r t e ti pi t re ba kgro .

‘ MAN CALLED ETER A Fox 195 5 New: OUR ER OWN RKO 1950 ) Vicror u P , ( , ) Alfred f V Y ( , Yo ng man ( Decca DL- 8 12 3) ( Decca ’ MAN IN THE GR FLANNEL SU T THE ‘ SS ON RKO 1954 D DL AY I , ( Fox, PA I ( , ) Louis Forbes ( ecca 1956 ) Bernard Herrmann ( Victor 20 808 5 ) MAN W TH THE GOLDEN ARM U SS TE FR ENDS U 1 4 R I , ( nited Artists , PA IONA I ( niversal , 9 9 ) ichard 195 5 ) Elmer Bernstein ( Decca 82 57 ; Coral CRL Addin sell ( Entre RL- 3029 ) 57065 ) ‘ ER O S OURNE R 1 5 Vicror P IL U J Y ( epublic, 9 3) “ - ED U THE Tr an sfilm 195 1 G C L- M I M, ( , ) ian arlo Men Young ( Decca D 8060 )

MGL- 7 otti ( Mercury ) ' H NTO OF THE O ER U al 1 4 P A M P A ( nivers , 9 3) i n k ’ ELB U 195 3 S ol a s - M A ( nited Artists , ) Mischa p y Edward Ward ( London BEP 6ol 5 ) ( Decca 80 5 1 ) CN C C u 1 5 5 G Dun in D PI I ( ol mbia , 9 ) eorge g ( ecca MEN IN WAR U Ar tiSt s 1957 El B - ( ) - nited , mer ern 8 320 ; Coral CRL 57065 ) S tein ( Imperial 90 32 ) z ' N Fox 1 4 N MG 2 PI KY ( , 9 9 ) Alfred ewman ( Mercury SS SAD E THO SON C 195 3) G MI I MP ( olumbia , eorge 200 37 ) Dun in g ( Mercury MG 20 12 3) LACE IN THE SUN a 1 5 1 P , A ( Par mount , 9 ) Franz ROB NSO CRUSOE U s s 1 2 MR. N 3 I ( nited Arti t , 9 ) Waxman ( Victor LPM- 1007 ; MGM E- 3480 ) N D c DL- 8 12 DL- 8 12 Alfred ewman ( e ca 3, 3 ) ‘ RE MGM 1 2 L OUTH D ENTU ( , 95 ) OB D C W 1 56 S ViCtor P YM A V Miklos M Y I K ( arner, 9 ) Philip ainton ( Rozsa ( MGM E- 179 ) LPM- 1247 ) ORTR T OF ENN E S z 1948 B ODERN T ES U 1 6 C P AI J I ( el nick , ) ernard M IM ( nited Artists, 93 ) harles H C CL- 6 12 D 82 37 Chaplin ( Decca 808 5 ) errmann ( olumbia ; ecca ) " ' : ‘ RES DENTS L D THE 1 5 M M P A Y, ( Fox , 9 3) Alfred W . W OG BO G 1 . I M AM ( , 95 3) A atkins ( Mercury 20 1 5 6 ) Newman ( MGM 3172 ; Decca 8 12 3)

’ R TE HEL 6 Film akers 1 54 Le S ONTS D OR LES R 1932 D S s P IVA L 3 ( , 9 ) ith tevens M , ( ussian, ) imitri ho

- 12 t akovitch ( Columbia CB 1 5 ) ( Coral 56 2 ) ' ‘ OONL GHTER THE W 1 5 H R “ R TE ES or EL BETH AND SSE M I , ( arner , 9 3) einz oem P IVA LIV IZA E X

D c DL- 8060 W 1 3 E W n D held ( e ca ) ( arner , 9 9 ) rich olfga g Korngold ( ecca

DL- 54 1 3 OUL N ROUGE U s 1 52 G ) M I ( nited Arti ts , 9 ) eorges

C CL- 62 5 5 CL- 593 C R TE WAR OF A OR BENSON U a Auric ( olumbia and ; amden P IVA M J ( nivers l, CAL- 2 33; London LL- 979; Vicror LPM- 1007 ; Vox 195 5 ) Joseph Gershenson ( Capitol VX - 2 5 180 ) ROD G L THE MGM 1 5 5 Br on is lau e P I A , ( , 9 ) Kap r ' M SIEUR LA CAILLE ( Columbia CL- 947 ) ( MGM 3172 )

FOOL SH HE RT RKO 1 4 ViCtor MY I A ( , 9 9 ) Young ROUD AND THE PROPANE THE mo P , ( Para unt , C u CL- 7 4 D DL- 54 1 ( ol mbia 9 ; ecca 3) 1956 ) Victor Young ( Coral CRL- 57065 ) N ED SEA THE RKO 195 5 ) L AK , ( , aurindo Almeida ROUD ONES THE Fox 1 56 L N P , ( , 9 ) ionel ewman G F ( C EAP 1 and eorge ields apitol - - ( Coral CRL 57065 ; MGM E 3480; Columbia ’ N CHOLAS N C LEB U 1 47 L I I K Y ( niversal , 9 ) ord

B E RL- 3029 erners ( ntre ) BL E 1 RKO 1 D R U C G ON NO. 7 P I PI ( , 95 ) avid ose N GHT OF THE HUNTER U 1 56 I ( nited Artists , 9 ) ( MGM 3397 ) Walter Schumann ( ViCtor LPM- 1 1 36 ) U ET MAN THE R 1 5 2 ViCt or n Q I , ( epublic, 9 ) You g N GHTF LL C u 1 6 DeRose C ( 95 ) - I A ol mbia , Peter ( oral ( Decca DL 54 1 1 ) CRL0 57065 ) ’ UO D S MGM 1 5 1 R C Q VA I ( , 9 ) Miklos ozsa ( olumbia NOT AS A STRANGER U s 195 5 ( ) - nited Arti ts, - — CL 6 12 ; MGM E 10 3; Capitol T 456; Victor LPM G An t i l LKA- 102 eorge h e ( Vik 9 ) 1007 ) NOW ER W 1 42 O G ( , 9 ) S , V YA arner Max teiner R N ER THE 1 57 N AI MAK , ( Paramount , 9 ) Alex orth ( Capitol P- 387 ; Columbia CL- 794 ) ( Victor LPM- 1434 ) ‘“ODD MA N OUT ( U 1947 ) W ' niversal , illiam Allwyn RA OR S EDG E THE 1 46 N Z , ( Fox , 9 ) Alfred ewman ( Columbia CL- 794 ) ( Mercury 200 37 ) ‘ OF CE AND MEN U s 1 MI ( nited Arti ts, 939 ) Aaron RE R W NDOW 1954 F Wa Copland ( MGM E 3367 and 3334 ) A I (Paramount , ) ranz xman MGM- E 3172

OLE G A VX - 2 U PA ( Italy ) S . Malando ( Vox 5 180 ) 4"REBEL W THOUT C USE W 1 5 5 I A A ( arner, 9 ) ON THE W TERFRONT C 1 4 L A ( olumbia , 95 ) eon Leonard Rosen m a n ( Columbia CL- 940 ; Imperial nd Bernstein ( Decca DL- 8 396 ) a 90 2 1 ; Unique 109 ) OL ER TW ST U 1 5 1 Sir A Bax IV I ( niversal , 9 ) rnold ’

- Mr Li m ba ch r a t ( Columbia ML 2092 ) ( . e s l s i n stallm en t of this listi ng will

' a a i n ur n e o ext issu e. ) ON E W OMA N S STO R Y ( see P AS S I ONA TE pp r FRIENDS ) CORRE CTION : In ou r la st i ssu e, cr edi t s h ou ld ha ve ‘ OUR TOWN U s 1 Co d t o E r n est G old a s t h h t r a ( nited Artist , 940) Aaron plan e or c es t or a n d cond u ct or D DL 7 52 7 C H all A 2 C 5 1 MGM or t h e s cor e o THE RIDE AN H E I ecca , oncert and ; f f P D T PASS ON . E 3367 3334 r a l i old and ) Ou po og es t o Mr . G ! ' © 1957 by Loe w s Incorpora ted ) {AINTRE COUN

WINTE R 1957 VOLU M E XVII NUM BER 1 F I L M A N D T V M U S I C

(Forme rly Film Mus ic)

Officia l Publica tion of the Na tiona l Film Mus ic Co u ncil

8 45 We s En d A e e Ne w 2 5 N. t v nu , York , Y

UNive r s ity 5 - 4404

FALL AND WINTE R 195 7 S8 VOLUM E XVII NUM BER 1

RAINTREE COUNTY (with scor e excer pts ) John ny Gr een

CURRENT SCORES :

LE S G RLS SAYONARA THE BRIDGE ON THE RIVE R KWAI Thom as Ta lber t I , , PAL J OEY THE MYSTE RY OF PICAsso FILMMUSIC AT THE STRATFORD FILMFESTIVAL ORIGINAL MUSIC IN UNIVERSITY FILM PRODUCTION THE BLACK CAT (with s cor e excer pts ) JOHNNY GREEN

EX EPTIONAL TELE ISI N P AM ho l TWO C V O ROGR S . T m as Ta ber t

F LMA D V C ES L - PLAYIN E D m h r I N T S OR ON ONC C R COR S J a m es L. Li ba c e

FILMAND TV MUSIC: CONTE NTS V OLUME XVI

CO ER: E Dm tr k c s C E T R NTREE COUNT V dward y y dire t Montgomery lift and lizabeth aylor in AI Y .

s ss s a s c ss s N s Opinion expre ed in igned rticle are not ne e arily tho e of the ational Film Mu ic Council .

’ W i m H mi on Pub s hed b t he N on F m Mus c Coun c 845 Wes En d A en ue Ne w o 25 N. . P es den ; li y ati al il i il , t v , Y rk , Y r i t, ill a a lt

- t f cen s. Vce P es den an d Ed o M e H m l on . F e s s ues e ch e h ee do s a n d i r i t it r, ari a i t iv i a y ar , r llar fi ty t

s be e t the core should romantic in fe ling, hat it would be th e c s sc . Fi with olor and tyle of the total ore ( g. l ) “ ’ s as W s “ melodic and that it hould have what we know that s c wa s us e s R N ” “ ” eb ter problem lyri ally to the word , AI w s r n s W ” modern e te ound , not agon Wheel s Of cours e TREE COUNT , c Y within the title, to reate a lyric that c ’ bu ra her he pen a oni and , o s ome degree ol t r ia dic c t t t t t t , p y would be omprehens ible in today s in comprehensible s n ou d that, under the able a egi s of certain composers u so , pop lar ng market , to maintain s ome definite relation h a s c the s too well known to require mention , be ome trade hip between the word s of the s ong and at lea s t the feeling , a s c c s m rk of the open pa es in re ent seriou American mus i c . n ot s c if the tory , of the pi ture , to be commerc ial and yet “ be N literate enough to belong in the compa ny of th e , ac c b S ext came a pr ti al and perplexing pro lem . hould s c ? re t of the elements of the film . Spa e does not permit The c ao- there be a song urrent vogue in called title s ongs ’ Of W s s h a a reprint eb ter entire lyri c which fulfills all of the s b us become a ugaboo to all of who work in films . s s s H . th s many requirement impre ively owever , e e s ence of T - hat it has been overworked to a fare thee - well there i s it , and indeed of the picture, is epitomized in his clos in . T no doubt hat a s ma s h hit title s ong rank s high among g the top exploitation and promotion media that a movie three lines “ ca n i s s s c have al o an establi hed fa t . That RAINTREE ” FOR THE BRA E WHO D RE COUNT s c V A Y repre ented a ost of over five and a half ’ THERE S A RAINTREE EVERYWHERE milli on dollars was alrea dy common knowledge when I WE WHO DRE a ’ AMED FOUND IT SO c ob. C pproa hed my j ould I , in good composer s con N O G AGO. R i n d b r m is i sc c cc L ( epr te y pe s on of the ien e, a ede to the pres s ure for a title s ong ? I de “ co r i h own r Robbi n s Mus i c Co c H c py g t e , rp . ) . Th cided that I ould en e, e Song of RAINTREE COUNT b W Y with lyrics y Paul Francis ebster . The developmental treatment Of The Song of RAIN wa s ” My attempt to write a melody , with a certain folk TREE COUNT Y is free . Though it occur s Often in c feeling, whi h would serve well a s the thematic r e r e its s s p virtually ba ic ong form , it frequently appears in sen t at ion R C s i ts of aintree ounty it elf, of a locale and ses . s c other gui For in tan e , early in the picture when , people, have popular appeal a s a s ong a n d ye dove ail t t Johnny (Montgomery Clift) goes on his futile ques t for

‘ ’ P a oe Ne l é l L

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hts cont o e d b Robb rig r ll y ins Music Corporation iden ti fi abili t i e the bi s a r s titi es wi th s pec ific story y ( there are add th e Raintr e through g w mp, the melody appea

tion al s i l i s Of c o s . i s 2 . tran it ona and ndependent motif , ur e ) as part of a two part nvention as een in Figure “ ” Thu s I hoped to provi de certain clarifying is lands or in the s e “ T i s a , - e the l here a gre t deal of linear writ g in cor audio reminders that would h lp audience, if on y ’ Su s and Fi ure 2 a i ll us trates the fugato treatment of sanna sc s e i g subcon iou ly , to ori nt ind vidual events and character E T T h c r so t ( lizabeth aylor ) Mad heme w ich o cu s mewha r elations hips to the whole. la ter . “ An other pe r plexer to to be r es olved before a ctu al ' “ How The S R N w the di fl us en es s l writin could begin . would ong of AI No , what to do about , the mu tiple g ” ? be r s Th e ex l oit at ion a l in es cr i TREE COUNTY p e ented p and l , the o i ca i s be s l s i l tif f r every promotional ram fi t on had to con idered , whi e t l c ct s n th e is i e i i s hara er ) , maintaini g proper loyalty to art tic nt gr t e of i ir en . bit e i s cal . R s l : e the film A commercial phonograph r cord the s ne lo e, emotional element e u t th t en thematic

' © l 95 7 by Loe w s In corpora ted ; J a m .» 1 G a t e d rights con trolle d by Robbin s Musi c Corpora ti on ” qua non of impor tant exposure for the title of the On scene the Per fes ser refers to the GOLDEN

c s . R s : c s R NTREE pi ture, via a ong e ult vo al pre entation in . the s O AI the enormou tree from the rient , planted

T s n on - s s s Main itle by our fine studio choru or a name oloi t . Its s s by legendary Johnny Apple eed petal of gold , gli ten

- 0 UT. E n oc s a n d - i h i n s s ngage a top ame v ali t make a tie g in the unlight , hower down upon the earth . An his c c s t c s c deal with phonograph re ord ompany . Re ult : Na or he tral gimmi k or s himmer of s ome kind for the C a n d Gold C R c s . Th e wa s n R King ole apitol e ord original plan e aintree would be in order . Res ult : what appears C to have ole sing at both the beginning an d the end of on a percu ss ion line in the orchestral scores as the “ . W a ll R NTREE IM IK Fi J J . T the film hen we put it together , however , we found AI ( g his i s the curious ’ that the introduction of Cole s s olo voice int o the final s ound of des cending or ca scading and not - quite bells sc c e ene of the pi tur did violate dramatic integrity . There ’ “ ” In the LPs on RCA c o Na t se Vi t r Col e s voi ce does n ot appear fore, the repri of the s ong at the finale i s presented a ll bec use of his e c us e con c u ti e u w h C “ at a x l iv tra t al p it apitol . The by the chorus . MGM S ud o M ed Cho us s n s on the LPs i n ce of C e t i ix r i g pla ol .

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' t © 1957 by Loew s I n c orp ora e d J a n a! a 1 s tat e d

' ghfs c on tro lle d by Ro bbi n s Music C orpora ti o n

s a a as “ f c was pos ed and orchestrally arranged in uch m nner to s she s . The f s anna . Little bell are what hear e e t c T t e G s s c be played again st the ba s i Mad heme during the a dhieved by two pair s of reek , or finger , cymbal tru k s c c or c ss . , Fi . re o din dubbing pro e In o her word ha whi h s imulta eous ly and very closely miked ( g r g t t t n “ emerges on the s ound tra ck a s a s ingle piece of cont ra ’ s T i s s c s . s c wa s s Su s ann a Mad heme divided into two ubje t puntal mu i , never played as uch on the recording “ - t . s s The e c c s The first repre ent her over all bad feeling or demen ia s tage . arithm ti al ni etie of timing, meter and the d The second is the triplet s ubj ect specifi cally a ssociate like are s uffi ciently intric ate to form the ba s i s for a doll th e a n d , 7 is c T with dolls particularly with her favorite separate arti cle . Figure the basi Mad heme ; Figure s n B s - she s s o . r e c s 3 4 5 Jeem ie after whom name her oth ubject 8 i s . As , , , , the doll motif re orded together bar ’ m S s s 2 s f 7 cc s s 1 , , 3, are heard for the fir t ti e on u anna and Johnny etc . o Figure o ur imultaneou ly with bars ' s s s e as 8 . w dding night they travel down the Mi si ippi on a etc . of Figure river boat towards her New Orleans home . Following an hy s teri cal outburst of s elf condemnation s a he s as s was com in which Susanna beg Johnny to be t her , sugge ts The doll motif, recorded a eparate entity ,

' © l95 7 by Loew s In corpora ted rights controlle d by Robbi ns Music C orpora ti on that maybe a good s tart towards lifting the an xiet ies are ei ther the most ecsta ti cally an d idylli call y ia - lovc “ ” i m od c et s ate whi ch plague her woul d be to get rid of the dam n doll s . couple imag nable or the ompl ely fru tr d duo

i s e an . G s s S a s s i ca l e . c n i ss ra ping at any traw, us nna enthu ia t l y agr es in the h tory of stori d rom e I fou d it mpo ible The two of th em s ail into an org y of doll des truction to expres s thi s rela tion s hip mus ica lly in ter ms of one “ ” s i f T i c c i s . l . T s s h e t hurling the c reatures again t the wal hi ae om t mati ent y treated in two d f erent way herefore, ’ ' “ pa n ied by a variation on the Mad Theme in the man there are two them es for S us a n n a an d Johnn y s peculiar ” s c z cc th e l c H o T an d a ner of a i k walt , a ording to the direction in al ian e ; the appy L ve heme the Mel ncholy Th e s h c i s l c The ea t c l c T . sc . ore tr tment , both rhy hmi al y and harmoni ally , Love heme fir t, w i h an a most ompletely c s s s s c w th e s s of an d on titute omething of a departure from the urround diatoni melody , ith imple t harmony an H s s ffec in s s i i s in s i n s . g tyle owever , it eemed the mo t e tive way orthodox ba l ne , the manner of a love ong i c T was c i s l whi ch to s pea k mus i cally the neurotic del ght with whi h ( Fig . hough it con eived as an n trumenta

S a t s th e i s u . . i s film sc h as us nna en er into fut le ge t re ( Fig theme and never sung in the ore , it been r c r s e s made , apa t from the pi tu e , into the publi h d ong, “ ” The i s S s an d s NE E R T L NOW s l n c s W s relat on hip between u anna her hu band , V I L (lyric by Pau Fra i eb ter ) ,

is i . T c s m c l a co hn is i c . c Jo ny , most compl ated In fa t , it sch zoid hey of whi h there are everal com er ia phonogr ph re rd

' © I9S7 by Loe w s In corporate d ; r i ghts c on t r o lie d by Robbi n s Musi c Corporati on The c ings . second or melan holy side of the Sus anna i s s a a n d is s mentally un t ble the other fru trated , fated l is s Johnny ove poken by a more chromatic and harm oni never to at tain fully the goals for which his talents a n d

. 1 1 c c s c c ha d se t e T cally more complicated melody (Fig ) whi h rea he hara ter emingly fi t d him . here are two Battle i ts climactic s tatement in a forte full string and horn Motifs which underlie the scenes involving Johnny and ’ unis on when Susanna s body is found in the Raintree Fla s h as s oldiers in the Union Army during the Georgia S c . C . s a for wamp following her sui ide ampaign All of thi thematic material , rranged “ i s c s piano , in luded in a publi hed Folio entitled THE There a r e separate themes for the relations hip between MUSIC OF RAINTREE COUNTY a n d his sc s N Eva Johnny hool day sweetheart, ell ( Marie S ) , Jeem ie Sha wn ess ( s on S s E c s aint for little , y of u anna and arlier I referred to the exigen ie of schedule and the ” for R T Johnny ) , the aintree Swamp . here are two a ddi : o c s ss lowering of the boom An r he trator by profe ion , tion a l c cc a n d c c s c short motifs whi h o ur re ur with the inter . I compose my motion pi ture dramatic mu i in detailed , a e s S s c s c s s Wh playing nxi tie of both Johnny and u anna , as ea h a s . even line or he tr l ketche y not , then , go the rest ? realizes ha heir life oge her i s o be fraugh wi h he sc B c s t t t t t t t t t , of the way and work in full ore e au e regrettably , ’ s s s s s t s inevitable ten ion of a union in which one of the partner even before the panic et in , here j ust i n t enough time

' © I9S7 by Loew s Incorpora t ed right s c ontrolle d by Ro bbi n s Musi c C orpora ti on

s a s a r e s a al a for e t a s we mu ici n occa ion lly too inclined to c l inter which they m ke b t er musical for m n d equence . ” ference ) i s a composer a pt to get in crea ting a sc ore of It wa s not merely a proc es s of cutting out obvious stalls t s h e a r ? W s t e sc ss sec . s the the propor ion of work we di u ing here and omitting tions ithin individual equence , ” R NTREE COUNT is a wa s wa s c ec s c AI Y, it pretty gener lly known , material a tually r ompo ed on tra k to produce “ e s h c c a As a s s s c s s a creat d in a omewhat e ti tmosphere . re ult, the optimum in li tening mu ic on i tent with wh t ac s e Th by the time I finally began tual compo ition of th had been or iginally recorded for the picture . e extent sc th e c c ore, I had had a minimum of contact with pro to whi h we su ceeded is for the listener to decide , but “ ” o c D c a is h s ss set duc r and dire tor of record . uring the a tu l scoring it germane to t i discu ion to down that we did “ ”

n ot s l s a H . period they were , ha l we y , on call . owever, try I did have the dis tinct benefit of detailed cons ultation There ar e over two hours of mus i c in RAINTREE with two of the ca nniest and most knowledgeable of fi lm COUNT . was fi c ob n Y It a dif ult j , but then what motio s . am c a d mind I mu h indebted for their guidance and ’ ? “ c sc r sc ss s t he pi ture o ing job isn t Per my di u ion of the core vice, for privile e of sharing heir mo ion pic ure g t t t ‘ ’ ” a s g , R NTREE was a - in he pro r m no e of he LP AI n e i s s s - t t t sense . O the di tingui hed director producer execu “ ” “ ” bi . was sc er S The G E challenge a g one Meeting it fa inating, p tive, idney Franklin ( ood arth , Mrs . Miniver , ’ ” “ ” “ s a s c R Ha s W th e haps the mo t b orbing job I ve ever ta kled . andom rve t , aterloo the other ,

S v s E MGM s RA NTREE COUNT Me o- Go dw n - M e E be h uper i ing ditor of and perhap the dean of I Y tr l y ay r . liza t T o Mon om e C Eva M e n Di ec o r w s a B S . Ed d . sc ayl r , tg ry lift, ari ai t r t , ar motion picture editors , Mis M rgaret ooth If the ore D r Mus c ohn n en m t k. G e . is a helpful a djunct to the emotional a n d dramatic im y y i , J y r “ ” c of R NTREE COUNT s s a PUBL SHED MUS C Robbin M The n f pa t AI Y I mu t h re the credit I I s usi c Corp . : So g o ” “ ” “ h RA NTREE COUNT Ne e M s o . an B T Now The u c f wit Mr Franklin d Mi ss ooth . I Y ; v r ill ; i ” RA NTREE COUNT ( 17 hem es an d m o fs b o hi cal I Y t ti , i grap h m e a o os of scen es f om t he film ) . The phonogr a ph LP of the RAINTREE COUNTY at ri l , p t r s t s s an d s 84 s ” score occupie four welve inch ide run minute RECORDS The Son g of RAINTREE COUNTY : Nat Kin g 5 5 a Cole w h ohn n n n h and sec ond s . L tely there has bee n cons idera ble writ it J y Gree a d t e MGM St udi o Or chestr a ; Capitol

F3782 . John n G ee n a n d t he MGM S ud o S m hon Or ches ten critici s m of sound track LPS on the ground s th a t y r t i y p y tra ; M M - W t ha n H t - G K 12538 . al e S c a d is O che s a ub r r/ r r : J ilee 45 5300 . while mot ion pict ure mu s ic may be enormous ly efi ective “ as a a c c n Ne e T Now Ma io La n z a w h Geo e S o l a n d his the ccompaniment to dram ti action on the s ree , v r ill r it rg t l

ches Reco e in RCA- c o - 71 19 Pe s a O ( d d ) ; . c it doe not make for good phonogr ph listening. In an r tra r Italy Vi t r r y Fa ith n d hi ches t a a n ho m 4 4 Go don a s Or r d C rus ; Colu bia 4 102 . r attempt to s ati s fy the requirements for good li stening M cRa n n h - a e wi th Va n Alexa de r a d hi s Or c estra ; Capitol F 38 16 . as without benefit of picture, extensive an editorial job on i a m es w h ches n cho us MGM - 1256 5 Da n n J J it or tra a d r ; K . y has e ‘ as ever b en a ttempted went into the preparation of Kella r n ey wi th Dom Fron tie re a n d his Orchestra a n d Chorus ;

F e n F- 785 Ki k S tua t h W e n h R NTREE COUNT W the o . w Sch r f a d his O c es ; the AI Y LP . ithin limitations f rat r ity r r it alt r a r tra

- J ub ee 45 5304 . c s s w il what was on the pi ture ound track , the mu ic as edited “ i : D s c RA NTREE COUNT O n Soun d T c LP ohn n w th only one frame of reference oe this pie e have I Y rigi al ra k , J y t se s a an d Green con ducti n g t he MGM Sym p hon y an d Chorus ; RCA- Vi ctor any hing re mbling good mu ic l form , if not

- LOC 6000 . O i n l Soun T c er O h n i d st e o c e RCA c o . r gi a ra k , p tap ; Vi t r a r e there any editorial proc edures by which it ca n be ” RAINTREE COUNTY Highl ights Origin al Soun d Track a chieved ? Whole sections of ba rs ar e tra nsplanted from LP ohn n G een con duc n t he MGM S m hon O ches r an d , J y r ti g y p y r t a

cc the e a a s Cho us RCA- c o 38 where they o ur in pictur tr ck to po ition in r ; Vi t r LOC 10 .

fl f .fi / o p o

' © I9S7 by Loew s Incorpora ted : rights controlled by Robbin s Music C orpora tion C U R R E N T S C O R E S

LES G R S S ON R an d I L , AY A A THE BRIDGE ON THE RIVER KWAI

Th is autumn we have had thr ee moti on pict ures r e leas ed that were all hail ed by their res pecti ve s tudi os a s i ha s in its e bein g b g an d ea ch own way , prov d to be

On e i s s c l a . is dis ti ngui s hed . a mu i a and two are dram s It in teres tin g to note the role of mus ic in ea ch and the func tion al use of th e sc orse for th e la tter two .

It has alway s been rather awe inspi rin g to view the ‘ ase t s with which s c l i r e , and of en the ha te, most mu i a s nspi e ol S ] h as a r es pons e of leaden boredom . Producer S iege put the right cooks to work on a truly consummate pic tur e starring the ever adroit an d cons tantly matur ing “ ’ ” As ~ aveli n m a n he Gene Kelly . a tip top tr dan ces and si n gs through a European tour with three packages of the

Of . s . LES G R S item that he enj oy the most course, I L

The five Cole Porter s ongs ar e s moothl y worked in to ’ the str uctur e of John Patr ick s adult screen pla y . I fear that th e dodderin g plot of a cast an d crew (there are no s in i s c in i t i union the mov e ) , l g ng toge her after the r l s s e s wea thy benefactor walk out in the mid t of r hearsal , ’ an d being a sma s h on openi ng night won t go anymor e T r n es if it ever did . hey we e a bu ch of squ ar for not in e t a W s s c hav g a b t er lawyer anyw y . hat make thi musi al ’ a l b i s h es An d so m lea le t at it do have a story . it s about w kin a or g s ong and dan ce group . ” Th e l s Les G s s es t tit e ong, irl , is the clo to a produc

fi on . W c Co ith easily re ognized Jack le choreography , it “ s n the n set a smart and j au ty stride for e tir e picture . Ca ’ ’ ” C es t LAm our is the one ballad and has the Porter ’ “ ’ ” fl Ca n Ca n s C Ma avor of est gn ifi que .

“ ’ ”

s Too Too Mr . is hi s In You re Ju t , Porter back to

His fi r st - t r c a bes t cup of tea . ra e ly i s get rhythmi c and ’ har i m en t l . ed b T ew o r t m . But c m ng reat ent from Mr Ke ly and Kay Kendal l y rum an Ca pote s N Y rke ar ti cle . Most actres s es being funny make me wi s h I liked pop th e brief bits of a uthenti c music gave a tas te of what c c l an d s c u w et iss e l . T i s as i r l th orn , so I ou d go out g ome , but M K ndal o ld have been h pr ma i y e dance in the es u s i wi t an d i T do her n mber w th a a zest that crea tes a Kabuk hea tre . fi n e foil for the br ight Kell y polis h c e r e c r s th e all l i Perfe t d over th e entu ie , ma e Kabuk “ Mitzi Gaynor d a nce s dur in g Wh y Am I So Gone s tar t ed with a basi ca lly dance st r uctur e an d contin ues to wi W - On e- l . D n i s a s i set hi s l z t ca es e . Us i an labo th a ild Kel y o e aga n t tr king , t uti i e rhy hmi lly d igned movem nt ng e r number conta ins the mos t d anc in g in the film ate and intric ate s ta ge the pla y is literally sur roun ded Th s c . e n in o n m s s fl by mu i fasci at g s u d of dru , ingers, ute The orchest rati ons are pretty old but th e picture is sa s s - e s r i e a - l and mi en ( a long n cked , three t ng d guit r ike so t integrated hat they pass. ( List eni n to the album is g n s i trument) goes on around the s tage acti on . a s a Th e hoe on nother foot) . color photogr aphy is lus ter ous G o C i r ec e On e of the s uk n ce Ka am i is hi and e rge ukor has d t d the entire film at a famou Kab i da s, g f , was u s a Th c . e s us ed in th film b i n n in th d r is a r l a s a s e . e e ance i s re but fa t moving p e hots b ck tage, ag in t In the g g g the i s an d c s a r t e i s a ce t . T i r n i l ght of the rowded t i ways, are pic ur squ e, w th a lion ma k at lebra ion h s ve y femi ne

- c s r . a r is l t c s ofi t sh e well ompo ed and t ue p t a tered , for af er a o tume change s age, h as s i been tran form ed nto a li on. LES GIRLS is a s ucces s in a medium that i s usually very uns teady and often wi th a face full of pie; Wit h the Franz Waxm an wrote a n un dis ti ngui shed sc ore and i al C s set t in s e S c u c e hi orig n Vera aspary tory to hem motion , om one east of uez had ertainly q en h d a t rst ’ C l a i v n New s r n B i Porter to ukor to Kel y prove to be form dable trio . when he thought of ha i g old York I vi g erl n write the t itle song for a fi lm made in and about Japa n S ONAR s a n d AY A, ba ed on the James Michener novel, s n s the s ce and its culture . If the ou d of hort seq uen at a t i n a is filmed on loc ion Kyoto , Jap n , a romance that th e Kabuki arouse interes t in a few people to pur s ue is is l an d d t ca i H ’ v ual y often rama i lly mov ng. owever , a n s s th . heari g more Japane e mu ic , it s worth at c c h s too s s was han e t at come eldom was lo t. For here t n r s i c The m c c the grand oppor u ity to use t ue mu ic of an exot other dra a, an adventure story on eived and h t l ill i c scal t t l i c D u ct a o . nature t a wou d st rema n a f n ion l sc re exe uted on a large e , hough ful y d re ted by avid i s Tm : BRIDGE ox r m : Krvw WAL Lean , K The various problems waylayi ng produc er William ’ ’ Goe i c o a h ee l l A The Ca a i Pa adise H b on s tz and d re tor Joshua L g n ave b n wel docu Malco m rnold, ( pt n s r , o s ’ W T Wa s Choice h a s s sc i s c does I Didn t Know hat ime It and from ) fa hioned a ore that exemplary in fun ” “ B s s c s hi s ff m The tion al c s fi lm s c a s s . The abe In Arm ome most e ective nu ber , ompo ing for a u h thi theme for ”

- - Is T . the Britis h pri s oners oi war i s es tabli s hed when they Lady A ramp A s c . parade, whi tling, into the j ungle amp parade ground Quite on the routine s ide a r e My Funny Valentine “ ” ’ marching son g . from Babes In Arms a s done by Kim Novak s vocal “ ” “ ” s - i n a n d s s s s tand , two Pal Joey original Zip and Mr . Arnold u e thi whenever the men are moving “ ” B c e a s R H . c n or triumphant over their lot in one scene to great ewit h d dubbed for ita ayworth (In ide tally , “ ” ' The s a the s tagin of the latter bear s a strange res emblance to effect . men are whi tling in their par de ground g “ ” s D c s b t s s c s s . that of the ream Lover sequen e ung y Jeane te and ome low mu i tart to come in beneath At fir t “ l 1930 The - Ma cDon a d s eemingly at cross purpose s but then picked up by each in the Lubitsch film Love “ ” “ Two s T Ter c s c c sc . more Pal Joey original , hat or he tral hoir and carried to a dramati cre endo ” ” “G Bi T r ifi c Rainbow and reat g own , are done by the The c sc s s g , general ba kground oring is u ed parin ly and choru s girls in j ust the s traight s tyle that was s atirized he s . The c s t when u ed , is appro riate holo au t when p s o wonderfully in the stage versions . bridge blows i s quite enough by itself . s s was b S a In hort , thi reviewer bewitched y inatr , The mus ic is played by he Royal Philharmonic t Rod er u H a n d b the s film . g and art, bothered y re t of the As B s s n i s Orchestra . with all riti h recording the ou d ALFRED SIMON excellent . TH OMAS TALBERT Co um b R H wo h F n S n r . PAL J OEY l ia ita ay rt , ra k i at a h Rod e S u e so an d Mus c R c a d s . D ec o Geo e S dn e . ir t r rg i y i , i r g r p rvi r - - M e Gene Ke M z Me o Go dw n . , LES GI RLS tr l y ay r lly it i Mus c A n em en s Ne son R dd e . con duc o Mo s S tololi . t r, rri rra g t , l i l i Mus c a n d L cs D ec o Geo e Cu o . , n Ka Ken d . Gay or, y all ir t r , rg k r i yri on s Ar hur d on Geo e Dun in Nels on R dd e . O ches a aptati , rg g , i l r trati , t Mus c d ed a n d con duc ed b Ado ph Deu sch . Cole Porte r . i a apt t y l t K e Mus c dv se F ed . Mo on . rt i a i r , r arg r e on s A e n de Cou e a n d S M n . oc s up Or chestrati , l xa r rag kip arti V al r W- 9l 2 REC RDS : Pa l Joe soun d c bum C o . O y ; tra k al , apit l Tucke . s on , Robe vi i rt r ' Pa l oe : Bobb She wood a n d his O ches ub ee JLP 106 1 . J y y r r tra, J il Les G ls m us c f om the soun d c M- G- M RECORDS : ir ; i r tra k, ’ ’ SHEET MUS C : Pal Joe 9 son s Cha e an d Cc . In c. ; , , C est l Am our : o e - Hun e Le RO Ho m es a n d I y g pp ll E 5 9OST. Ca 3 , J li t r , y l his O c hes M- G- M K12564 D v d Rose a n d his O ches , r tra, ; a i r tra

- - B n n Ne Hef O ches Co um b MG M 12554 . Ton e e , y tt , al ti r tra l ia THE MYSTERY OF PICASSO

44 1032 .

s a s A film of exceptional intere t , not only to rti ts but M on B n do Mu ko SA ONARA W n e B o he s . , Y ar r r t r arl ra s c c ss s c to anyone intere ted in the reative pro e e , the Fren h Mus c Fr a n z . Wa xm an . S on D ec o J oshu Lo n . Taka . ir t r , a ga i , g “ ” relea s e TH E MYSTERY OF P ICASS O i s a documentary - like O ches on s m us c b n Be n . Sayon ara words a n d i y Irvi g rli r trati , s s his s s h Leon id Raab. pre entation of the arti t at work in tudio in out ern France . d c eco d n RCA- c o RECORDS : S a yona ra ; soun tra k r r i g, Vi t r

- - S a on a a : Edd e F s he RCA c o Hen Ren ee LOC 104 1 . y r i i r , Vi t r ; ry , Through the employment of a photographic technique A- c o Am es B o he s RCA- c o Pa t K b , Decc ; RC Vi t r ; r t r , Vi t r ; ir y a c s s s s s ia Moun ta in whereby Pi a o work upon one ide of a pec lly on Ma cRae C o M os h Um e Me cu . Gord , ap it l ; iy i ki , r ry i s Me cu . c s c Be on d t he Moon Red Bu on s M os h Um ek , mounted material , the amera able to regi ter ea h y , tt , iy i i r ry ’ Ka tsum i Love Them e Mo on Gould RCA- c o Pe c F h , s s s c s , rt , Vi t r ; r y ait tep of the arti t creative pro edure from the reverse

M- - M F n Cha ksfield Lon don . Co um b Le o Ho m es , G ; , c s s i l ia ; r y l ra k s ide . Pi a o s seen working with various media first s E c i s wi h inks and hen wi h oil and collage . a h de ail W m t t t t THE BRIDGE ON THE RIVER KWAI Col um bia . illia immediately s een trans ferred to the ba ck of the surface Le n Mus c M co m D ec o D d . Ho den A ec Gu n n ess . l , l i ir t r, avi a i , al l c s a s his n h upon whi h he work the images emerge from Ro Ph lh mo c O c es . Arn old. yal i ar i r tra imagination . RD : Ma ch om the Rive Kwa i Colon el Bo e RECO S r fr r , g y M ch M e a n d hi s (M co m A n o d an d K. . A o d) al l r l J lf r it ill r It was fitting that Georges Auric s hould have been a sked O ches Co um b 41066 Ar t Moon e an d hi s O ches , r tra, l ia ; y r tra to write the mu s ic for a film directed by Henri Georges MGM KI2S9O. “ ” Clouz et D of iabolique fame , with the excellent photog r a h ob of Claude Renoir . And a very challenging j P A L J O E Y p y it mus t have proven for him ; an a s s ignment which r e ’ It s hould come a s no particul a r s urprise that Pal quired a compos er of Auric s stature in order to carry ” off cc ss it s st sc ha s it at all su e fully . Joey , in trip from age to reen , been shorn ’ s s c s O Ha r a of mo t of the brilliantly ardoni line by John The s ob wa s fir t requirement of the j , in my opinion , R c R H . and Lorenz art Fortunately , though , i hard odgers tha t it needed an a s tutely penet rating understanding and S c ’ ha s s his c s . fared better in the tran fer than olleague in e s c s s ympathy for Pi a s o s work . It al o demanded personal s c wa s a - c the key figure in the tage produ tion night lub s c s s c ss s for ’ re our e of mu i al expre ion not u ually called R s s c hoofer , many of odger melodie , attra tive as they . To sc a s s in film writing under ore norm l human intere t , ss c s were, nece arily were onfined to traight dance num s c difli cult emotion and a tion is enough , but here the

N w c s m . c . s . o ber , however , with Joey hanged to a inging c s a s s s ’ ompo er a ked to follow and under core each phase (occas ioned by Columbia s in spired c as ting of Frank ’ a s s c s s a s of an rti t reative proce es , much more ab tract

S i s s c . S inatra in the part) , the accent on the mu i everal s and ubtle thing . of the dance numbers have been repla ced by some fi ne R s H s s S s The sc wa s l odger and art tandard , and happily inatra sing formal organization of the ore quite natura ly s s c T s o s s mo t of them ; certainly he has never been in better e tional . hi f llowed the pre entation of Picas o work “ ” c b in s o c s T i s s e c s s . voi e , or ung etter , or had a b tter bun h of ong g on twenty or tableaux or pi ture hat , the

to s ing. From the original Pal Joey score he do es artis t wa s s hown either s tarting with a blank surface and “ ” “ “ ” I Could Write a Book and What Do I Care for a continuing until he had finis hed a tableau or he would ” “ ” Dame ; the On Your Toes score provides him with be s ee n r e - working in a completely difl er en t way “ ’ “ ” T s S H To s T s a r o here a mall otel from o Many Girls he one that he had previou ly finis hed . hi l tter p

O RI GI NAL MUS I C I N COLLEGE AND UN IVERS ITY FI LMPRODUCTI ON

Wh s a i s s s ile the power of mu ic in the entert inment film had the fore ight to feature, will timulate se rious con :

c s s s s of s c - well known and mu h discu ed , there would eem to ideration of the role mu i in the non theatric al

- o s . s c is s be a wide pen , and growing field for young compo ers film And if re ear h one of the foundation tone s of s s c s s s s TV s c intere ted in how mu i form may be u ed to add depth a univer ity , then the tudy of film and mu i has a an d f c c s . The e s s c s c c u cer ef e tiveness to the fa tual film frequ nt mi u e legitimate pla e in the univer ity urri ul m , and

s c - fi lm s ta i n l s - fi lm i of mu ic , ommon in non theatrical , mu t be in part y in the univer ity produced and n educational c s a reflection of the fa t that too few capable people have televi ion as well . y et applied themselves to the problem of mu s ic in s uch Su ch rese arch and experimentation on the part of stu productions . s s s s of c c dent compo er , tudent inema , and edu ators them s s e c s c s For example , we know little about how and what kind elve , may well provid lue to new con ept of film s s a n d s s of mu s ic hould be u ed in promotional indu trial and TV mu s ic throughout the indu try . s c s c s lm , and almo no hing abou he fun ional a pe fi t t t t t t ROB ERT W WAGNER .

s c c . s of mu s ic in in tru tional or tea hing film In other word , c c we have pra ti ally no reliable knowledge of the role of W i s D c c c (Dr . agner ire tor of Motion Pi ture Produ tion mu s ic in films which are suppos ed o s ell or each . t t in the Department of Photography at the Ohio State He i s s U s U . It is hoped that this series on colleges and univers ity niversity pre ident of the niver ity Film Pro s of an d TV c ha ducer s Ass oc iation . ) film mu ic , which the editors Film Musi ve

THE MUSIC FOR THE BLACK CAT

Gallez Douglas W.

f c s s s . Compared with the number of s cores coming from was not suf i iently upported by the vi ual It hap s c pened that the order a n d nature of event in the tale Hollywood , the output of spe ial film scores from uni

s s of s s , ver s ities and colleges in the Unit ed States is limited . ugge ted alternation contra ting theme primarily s E 1 r e Never heless s uden compos ers are producing wor of the tens ion motives ba ed upon xample and the t , t t k The s ss h s s la xed motive of Example 9 . mu ic thus a umed a cons iderable interes t, and t eir mu ic te tifies to the excellent teac hing provided in a limited number of free rondo form . AND TV US C school s throu hout the land . FILM M I in g h c s s T e s ore , performed under my direction by tudent the pa st h a s given examples of the work being done in U s c s g f from the niver ity or he tra , employed the followin the univer s ities ; in this i ss ue it continues its polic y o s : 1 1 1 l ss , CAT in trumentation flute, oboe , clarinet, ba oon ff c ts s sc . THE B C o ering ex erp from tudent ores LA K l 1 a n d 4 trumpet , horn , timpani , percussion , piano, wa s produced in the Department of Cinema at the 1956 violins . Univer s ity of Southern California . Completed in , “ c B c s h so thi s unus ual olor film won the ronze Medallion in the Here are the themati motive employed , wit me ’ Sc reen Producers Guide - Look Magazine Intercollegiate of the variations

Competition for th at year .

Ex 1 s . contain the germinal motive A , which per THE BLACK CAT is a stylized film adaptation of s ’ m itt ed s s , c a D c - c many variation throughout the core su h Edgar Allan Poe s familiar tale . ire tor produ tion de “ Exs. 2 3 4 B s s a s s , , and ; and motive , who e downward sign er William C. Jer ey and the gr duate tudent who h s s s s Ex. 4 . worked on the film concentrated on obtaining a unity t ru t ugge ted the timpani blow of ’ ff — s t of e ect that is , horror in Poe inimi able style, but The s s a r e a a a ccomplis hed in modern dress . et fr gment ry , o b . The a the lighting and use of color s ym olic n rrati n, t was s l l e although abbrevia ed , ki lful y dited to retain the ’ a im a s s es sence of Poe s account . My primary compo er wa s to achieve a feeling of cold - blooded dementia an d E a s bud s tark horror by s imple means . ven though mall get forced me to limit myself to a chamber group of s s s s c s s a s a e in trument , tyli ti con i tency l o dict ted conomy was a fi n d th e e of composition . I h ppy to that enforc d disc ipline provid ed a healthy stimul us for crea tivity .

The epis odic n ature of the film required almos t con S n s tant musical underscoring to bind it into an entity . i ce a l an tom ime s s d the action is l in p , mu i c frequently erve a s s to increase the intens ity of the individu l epi ode , ’ espec i a lly in those insta nces where Poe s blun t na rra tion 5 e c e n e sta the Ex. attempt d to indi at the deme t d te of B Its n i es Ex. L . pr ot a goni s t. ope ng cluster com from The convolutions imply the twist ed condi tion of th e ’ The i man s mind as it goes in and out of foc us . mot ve Ex appear s in varied forms in . 8 .

6 c r i the u s i t blis h Ex . ont buted to nea ness of mood es a ed i T s t at the beg nning of the pictur e . hi tor uous theme 7 s i i m a Ex. s ugge ted the var at on for pedal ti p ni in ,

4 is . and i ts relationship to the idea in Ex. evident “ ” The melodi c interval C as s um ed an importa nt role

throughout the score .

Ex. 9 Co lan des ue in e o e , frankly p q charact r, undersc r d sc en es of domes ti c ha ppines s and the brief momen ts ’ s s n i when the protagoni t mi d was at ease . From t me to ti t chr om ati ca ll dis torted to su me the mo ive was y . ggest s h i c o i the p yc ot c nd tion of the protagoni st .

Ex. 10 a u b s h was m in , l gu riou t eme, e ployed the se u en ce i n i h an d i r the q follow ng the g t fire, aga n afte

murder .

ar tme n t of Cin em a Un e s f e Wi h o Sou h r n C li fo ni . p , iv r ity t a r a t W lli m M w A un cl o . Fa cul dv se Wi li m Me i Di e S . h n . ec d i a ty i r , l a r g r t s é‘ r Mu c com Je sey . i posed an d cond uct ed by Dou W gl as .

- a n . n u ma arr o

8 mm: 3! 0 m m la n a i :

’ be s ca c B s E a s t r Pa r ad to mu i l dire tor of Irving erlin e e, CREDITS his w c for ork on whi h , in collaboration with Roger 1930u - P m oun : O ches on s for The Bi Pon d ueen Hi h E s ara t r trati g , Q g , den , he won the Academy Award for the bes t sc oring An im a l C a cke H s ea ds U , O i ce Bl ues ( sho ) Follow m us ica l c 19 r r , p fi rt , of a pi ture . 48 al so s a w the compos ition of t h e Lea de Th e S a om S a cuse ch “ ” r , p fr yr ( or estration a n d c c c s , s r Materia Medi a a on ert uite of three piece for pa t score ) . n c ss The — ’ pia o ommi ioned by the Abbott Laboratories . l 931 P m oun : ches O on s for Two s Com a n sho ara t r trati p y ( rt) , Wa La u h It B s . D O ( s ho ) Hon o Am on Love s The Ni h following year he worked at rner ro on anny g fi rt , r g r , g t ’ An el New Reli i n The In s ector G n r a l , o ( s ho ) , Th e Sm ilin Lieuten a n t Kaye s p e e . For thi s picture he won g g rt g ; ’ o ches on s a n d sco es for Lea ve it to Les te e t t at pa t , S c e s the Hollywood Foreign Correspondents Golden Globe r r i r r r r o a S ec eta M S in . f r ry, y a s s 1 94 Aw rd for the be t film core of 9 . In Augu st of — l 932 P m oun : O ches on s a n d sco es for Wa wa d ara t r trati part r y r , 1 949 he returned to MGM under long- term contra ct a s The Wis e S ex n S e sa tion . r , G s D c eneral Mu ical ire tor of the studio . — 1938 Co um b : O ches t on for S ta t Chee in l ia r rati r r g . 1944 — MGM M His c s : us cal d ect on a n d n c den tal sco e for B oa d s . i ir i i i r r a tivitie , however , extend beyond tudio walls wa Rh thm Ba thin B ea t y y , g u y . S 1 945 c o H ince he has condu ted pr grams in the olly — 1945 MGM: Mus c sco e a n d d ec on for Weeken d a t the B c i al r ir ti wood owl , in luding many of the annual Gershwin Wa ldo The S a lo Ta kes a W e rf, i r if . a n d R s 81 H s s He s odger ammer tein concert . has four time — l 946 MGM: Mus c sco e a n d d ec on for E a s t o Wed i al r ir ti y . c th e c a s condu ted A ademy Aw rd program , he has served — 1947 MGM: Mus i cal direction a n d i n c iden tal s core for It Hap s s a s C of s c B c everal time hairman the Mu i ran h of the en e n d i B ookl n F t i es a . p r y , c wa s s s c e A ademy , and he he fir mu i ian o be elec d — t t t t 1947 UJ : Mus i cal direction a n d i n ciden tal score for S om ethin g c s 3 . 1 95 i n th a vi e pre ident of the Academy In he initiated e Wi n d.

s c s c s 1948— J M s c the first televi ed broad a t of the A ademy Award , U : u i al direction a n d i n ciden tal score for Up in Cen t a l Pa a n d following this event he was elected to Life Member r rk. — i n A He was c a 1948 MGM: Mus c d ec on a n d n c den sco e w h Ro e ship the cademy . a h rter member of the i al ir ti i i tal r it g r ’ Eden s for E a s te Pa a de Sc C s s ss c a n d his r r . reen ompo er A o iation , other member — 1949 WB : Mus c d ec on a n d n c den co e for h s s c c S c of C s Au i al ir ti i i tal s r T e In hip in lude the Ameri an o iety omposer , s ecto G n p r e era l . s s Mu thor and Publi hers , the American Federation of — l 950 MGM: Mus ical dir ection with Saul Chaplin a n d i n c iden tal s icia n s a n d the e R s . , American F deration of adio Arti ts sco e for S um m e t o r r S ck. — 195 1 MGM: Mus c d ec n d n c den o f r 1 95 1 G his s c Os s i al ir tio a n i i tal sc re o Roya l In reen won e ond car , thi time in Weddin g ; m us i cal directi on with Peter Herm an Adler a n d c S C An Am r ica n i n ollaboration with aul haplin , for e i n ciden tal score for The Grea t Ca rus o; m us ical dir ecti on Pa r is 195 5 s N e h , and in he was pre ented the ational F dera wit Saul Chapli n a n d i n c iden tal score for An Am eri ca n in ' s s a c s c Pa n s m us c d ec on for Too Youn t Ki tion of Mu ic Club Aw rd for servi e to American mu i ; i al ir ti g o ss . c s He 195 2— MGM: Mus c d ec on a n d n c n through the medium of motion pi ture . began pro i al ir ti i ide tal s core for Beca use ’ ’ Yo M n e u e i . duci n g and was featured in MGMs Concert Hall s horts r 1954— MGM: M i l ec 1 953 s his us ca dir ti on a n d i n ciden tal score with Conrad in , and the ame year won third Academy S n e for B i a doon al . - i g r r g a c of b s s c Award s produ er the e t one reel short ubje t, l 956— MGM: Mus i cal adaptation of Fran kie a n d John n y ballet The Merry Wi ves of Win ds or . for Meet Me i n La s Vega s ; m usi cal direction with Saul

' Ch n an d n c den sco f r Hi h o t apli i i tal re o g S ci e y . In 1954 Johnny Green wa s made Executive in Charge 1957— MGM: Mus c sco e a n d d ec on f r Ra in t e o e Coun t . M M s a dm in is i al r ir ti r y of Mus ic for G Studio . In addition to his Th s is the fou th in a s e es of b o aph cal sketches of film tr ative duties he continues to function a s a practic ing i r ri i gr i com ose s b C f o d Mcc P e ous b o h es : W li m p r y li r arty . r vi i grap i il a s c s c an d s mu i ian , the mo t re ent mo t important evidence Walton ( Fa ll Le ith Steven s (Win ter Vi ctor Youn g

hi s Ra in r Coun t . of which is s mus ical core for t ee y ( Late S um m er

TWO EXCEPTI ONAL TELEVI S I ON PROGRAMS

The s s s i s s o i s the po ition of mu ic on televi ion terrible that imagination brought in to work on direction , can d s s s s there hardly be sai to be a po ition on which to photography or ound , he find him elf tied down to the ’ d s . c s s t . An comment . old routine I wouldn t wat h the e show ei her NBC CBS c a h yet, and ea h , within month of the ot er, All dramatic s hows use canned mu s ic— no expenses produced a program devoted exclus ively to the very fi ts s s c (nothing that , either ) in u ing public domain mu i B is s s be so . ’ element that uppo ed to uninteresting oth — and mos t mus ic al shows are so lost that they can t were fa s cinating and both treated the subj ect with dignity s ettle down to anything other than a s tring of guests . and taste . s s s s Almo t all of whom , as friendly relative ometime do, s s return the invitation . Fine for the gue t , but the viewer “ N a s its W s s es NBC ’ In ovember , part of i dom eri , li s tener is left with the dis tinct impres s ion that he s been presented _a conver s ation between Igor Stravinsky an d s h h tuck wit t e dis hes . c c R b C his a n d . ondu tor o ert raft , young friend protege ’ ’ s s s a r a i h m us ic wa s S i s s the his Spon or y that a s t g t show doesn t go It filmed in Mr . trav n ky home on eve of

- fi fth b . . a n d see . T ar e a b over Look why hey ore . If anyone with seventy irthday D r i sc s s c but u ng the di u ion they covered many topi s , ’ the composer s pers onality was what domi nated the too

- T s wa s s s hort half hour . hi televi ion at what it can do the bes t the in timate and revealing opport unity of li ste n in g to a great man reflec tin g on hi s life and craft. An d what I ca n only call the c alm excitement of his mind as he discus sed his various proj ects .

i s s s n Bi m Mr . Strav n ky poke of his early tudies u der '

- sky Kor sak ofi and of the firs t meeting with Diaghi lev . “ ” He He sa id the latter was what is c alled a dandy . spoke of the c irc ums ta nc es s urrounding his early ball et s T scores and of their production . hey talked briefly of his current compos ition that ha s s ince been premiered on The s w C B l A . by the Ne York ity a let, g closing hot , S a n s th e as was O i . the pen ng, showed Mr tr vi ky back at w i n i s piano ork ng feeli g the v bration , as he put it,

s of some soft and a tringent chords . “ ” The CBS i s Th e S A s ser e , even Lively rt , had a good w T D 8 b n n a . bit of trou le getti g u der y hen , on ecember , “ ” z An d s they di d Th e Sound of Ja z . went traight to the H wa s s c pea ks of creati ve televi s ion . ere the e sen e and the materi al that I referr ed to as being so lacking in w An d TV s c s . as . mu i pre entation It was there, it true it s howed and s ounded as s uch .

c R H S dir ec Produ er obert erridge and Jack might, the i s . D tor, allowed the feel of the mu ic to dominate one w th the vis ual appeal of a s mall - hour s rehears al or record T l i l e all a ss . dat , it c me acro ru y a br l iant program , ar tis ti ca ll y photographed wi thout s tiffnes s and eas ily the fl r s The best that televis ion h as o e ed on modern mu ic . B u Zi r ato Sa m l s oun d was excell ent . r no and Kane hand ed this s uperbly and a ll concerned made it poss ible for th e show to have th e impact with which it c ame ac ros s . H ll s s h owever bri iant the mu ician , and t ey were, it would have bee n j u st another ba nd program without the imagi a s i t n tive under tand ng hat wrapped it up .

Igor Str avin sky Columbia b a rds

’ Alm os t everyone had a chance to shi ne so I ca n t B B s n comm ent on a ll . ill a ie alter ately plin ked a n d r um bled as i s t um s his wont, and wi h Jo Jones back on dr ’ th t The C s e sea . d rhy hm section never put to ount ban ,

l h w s a s a of s d n . Ro ig tly altered , block mas e swi g y Eldridge had a lot to play an d hi s fat tone s tood well a i s bi a T i s e ga n t the g b nd sound . helon ou Monk did a fin

s . G lli Wl C a H w i an d olo erry Mu gan , Joe i der , olem n a k ns D k W s c a ic ie ell ame cross mightily .

An d B l H a N vi s il ie olid y . ever more mo ng, Mis H l l a o r The o iday ived her way through set f blues ly ics. s il i r o r s shot of her , wh e the nte mittent s los were prog es in a the s . H ah g, were mong best on the how ere was s a s t of an orption , c ptured for a few econds , wor hy y

drama .

’ H s n C s s m w o t Joh ro by co ments were bri ef . Thi s as all “ ” s . As is r i n The S r s s mu ic of th w it g, even Lively A t goe 0 3 16 N a the air after February . either progr m di scuss ed ha s a spons or .

' l oun t Ba ie TH OMAS Taw m r Wee Rus sel , C s FILM AND TV SCORE S

ON LONG - PLAYING RE CORDS

a L Li m ba ch er Com p i l ed by J m es .

P a r t III

The i s s e s SE EN WONDERS OF THE WOR D C title li t d fir t , followed by the producing or V L ( inerama ,

’ ’ s c s c s s 1 956 D Ra ks in Mor os relea ing ompany , the year of relea e , the ompo er ) avid and Jerome s (Coral CRL a n d s ec s c 5 7065 name, the number of the r ord ontaining the ) 45 “ s c s s s e s a r e s . mu ic . In many a e , everal r cord li ted A SE EN EAR TCH 1 95 5 N V Y I ( Fox , ) Alfred ewman rpm rec ord i s lis ed only if he s core i s no recorded on t t t - (Decc a DL 8 l 23 and 8312 ) s c i s a n s s a r rpm di , and indicated by a teri k fte SH NE am 195 i The i s m es ec i ( , 3) (C the record number . compilation li ited to p A Par ount V ctor Young olumbia CL- 5 93 c - 1007 D c DL- 805 1 ally compos ed ins trumental fi lm scores and does not , Vi tor LPM , ec a ) u s c s c s s s ’ incl de mu i al comedie or vo al theme ong . Film SHR E THE U s 1 95 5 s G s s IK , ( niver al , ) Jo eph er hen on c 1 6 c d d li sted whi h are available on mm film are pre e e (Columbia CL- 777 and Capitol by a n a s teri sk . SILENT MOVIE MUSIC (0 1 9 10 ) recreated by Ja ck

RED HOUSE THE U s s 1947 s Sha in dli n C CRL- 5 7024 , ( nited Arti t , ) Miklo ( oral ) Rozs a (Capitol T- 456) S NCE YOU WENT W U s 1944 I A AY ( nited Arti ts , ) i’ RED ON THE R 1949 C Ma x S C P- 38 7 a n d C CL—612 P Y, ( epublic , ) Aaron opland teiner ( apitol olumbia )

D c c DL- 96I6 “ ( e a ) SNOWS OF N RO 1 95 2 B KILIMA JA (Fox , ) ernard “ ” RED SHOES E - 1 948 B Bes Co H c - 1007 C ( agle Lion , ) rian dale ( errmann (Vi tor LPM ) Love Is ynthia by lumbia ML - 2083) Alfred Newman (Decc a DL- 8 123) “ RETURN TO R D SE U s 19 5 3 Di SO BIG W s 195 3 S D DL PA A I ( nited Arti ts , ) ( arner , ) Max teiner ( ecca

T C CL- 625 5 C CRL 8060 mitri iomkin ( olumbia , oral ) 5 7006) ’ SOMETH NG ONE C NT BUY U s 19 53 I M Y A ( niver al , )

R CH RD U s s 1 956 W W N R c EP- l I A III ( nited Arti t , ) illiam alton ino ota (Mer ury

c LM- 6 126 (Vi tor ) SO ETH NG TO E FOR 1 9 52 Vic M I LIV (Paramount, )

RIF a c 195 6 G s c CB D c DL- 805 1 IFI (Fr n e, ) eorge Auri (Columbia tor Young ( e ca ) 1 5 C F , apitol SONG OF BERN DETTE 1943 New A , ( Fox, ) Alfred

R ER THE U s s 1 95 1 c - - IV , ( nited Arti t , ) Musi of India (C CL 6 12 MG 20037 D man olumbia , Mercury , ecca

- (Polym us ic PRLP 5 003) DL- 5 35 8 ) “ BE THE 19 5 D DL RO , ( , 3) N ( Du Fox Alfred ewman ecca SONG OF THE AND U s 195 3 M. L ( nited Arti ts , ) 8060 DL- 9012 , ) pree (MGM RO EO AND U ET U s s 1 954 R M J LI ( nited Arti t , ) oman S E BOUND U s s 1946 s R s P LL ( nited Arti t , ) Miklo oz a E LC- 312 6 Vlad ( pic ) c LPT- 1008 C CAL~ 18 1 CAL- 233 (Vi tor , amden and ,

RONDE LA C CL~ 5 25 LL C L- 45 3 T- 456 E RL- 3029 R , (France) olumbia , London apitol and , ntre , emington

5 70 REM- LP- l C CL- 794 D c DL- 5 413 ) , olumbia , ec a )

ROSE T TTOO THE 1 95 5 N W 195 7 Wa x A , (Paramount , ) Alex orth S R T OF ST. LOUIS PI I ( arner , ) Franz

- C CL 72 7 MGM 3294 - ( olumbia , ) man (Vic tor LPM 1472 ) “RO SC ND 1945 N YAL A AL, A (Fox, ) Alfred ewman ST W TO HE EN s s 1 946 a AIR AY AV (United Arti t , ) All n c MC- 200 36 (Mer ury ) Gray (Entre RL- 3029 ) “RUB GENTR 195 2 H R C Y Y (Fox , ) einz oemheld ( olum “ ST R IS BORN A S c 1 937 S A , ( elzni k , ) Max teiner CL- 625 5 D cc DL- 805 1 MG 2 0123 bia , e a , Mercury ) (Victor LPM - 1 1 70) S O E C a 1 95 3 G Dun i n an d AL M ( olumbi , ) eorge g O EN E W 1946 S c ST , ( , ) ( ~ L LIF A arner Max einer i or Daniele Am fi theatr of (Decca DL 6026 ) t V t LPM - 128 7 ) a n ci ulli MGM E3485 SALUTI E BACI (Italy ) G. F ( ) STRAD T s - 1 95 6 N R C A , LA ( ran Lux , ) ino ota ( olumbia 1 0 c S SON AND DE H ( , 95 ) AM LILA Paramount Vi tor CL- 2 5 99 MGM 322 0 339 7 , and ) D cc DL- 6007 C CL- 794 Young ( e a , olumbia ) ! STR NGE L D IN TOWN W 1 95 5 D A A Y ( arner , ) imitri S RATOG TR N Wa 1 944 S A A U K ( rner , ) Max teiner Tiomkin (Coral CRL- 5 7006 ) (Victor LPM - 1 1 70) STR NGE ONE THE C 195 7 Ho A , ( olumbia , ) Kenyon p S THE T T E - 1 949 COTT OF AN ARC IC ( agle Lion , ) kin s (Coral CRL- 5 7132 ) Ralph Vaughan - Williams (London LLP - 99 7 ) D 1 95 5 “ STRATEG C AIR CO N ( , ) SE RCHERS THE W 195 6 S Vi c I MMA Paramount A , ( arner, ) Max teiner ( ic or oung (MGM E - 31 72 ) tor LPM - 1 2 87 ) V t Y “ STREET SCENE U s s 1931 New SECRETS OF E D s 195 6 S Dis ( nited Arti t , ) Alfred LIF ( i ney , ) Paul mith ( D cc DL- 8 123 ney 4006 ) man ( e a ) ” ' SEREN DE W 1 95 6 N c s Br odsz k MGM STREETC R NAMED DES RE Wa e 19 5 1 A ( arner , ) i hola y ( A I , A ( rn r ) ‘ 3375 an d 3397 N C l - 38 7 C ( IL- 6 12 ) Alex orth ( apitol , olumbia )

F I L DI A N D T V M U S I C VOLUME XVI 1 95 6 1 9 5 7

C O NT E NT8

Number 1

" LUS T F OR LI F E (with scor e exce r p ts ) Miklos Roz sa B ACKGROUND MUS I C OF WAR AND PE ACE Nin a R ota RI CHARD III F r a n k Lewi n ' e E lia s t H E B ALLE T OF ROME O AND J ULI E T Alb rt J . W LL AM WALTON Cl ifi or d McCa/r ty I I g TH E LI GHTE R F I LMS Ma ry P owe ll THE ROMANCE OF TRANS PORTATI ON (with s cor e excerpt s ) Ge r a ld P r a tley 1 6m m F I LMS Ma ri e H a m ilt on MUS I C TRACK F OR ODE ON A GRE C AN H a r r y Robi n CRE DI TS IN CURRE NT RE LE AS TH E S TATE OF MUS I C IN TE LE Ha r r y Robin F I LM AND TV MUS I C NE WS F I LM MUS I C CONTE NTS : 1 95 5 - 1 95 6 Nu mbe r 2 TH E TE N COMMANDME NTS ( wit h s core exce r pt s ) E lm er B er n s t ei n CURRE NT S CORE S : Giant Qua i n ta n ce E a ton Te ah ous e of t h e A ust Moon S h eldon S ofl er Th e B rave On e t Ma r y P owell F ri endly Pe r s ua s i on Qua i n ta n ce E a t on B u d f Ma Powe ll n le o J oy . c ry ch i h Ma i e H a m i l o On S u a N g t . r t n " 8 x 8 ; AN I NTE RVI E W WI TH HANS RI CH TE R Gid eon B a chm a n n li or d McCa r t LE I TH S TE VE NS . C fi y ’ M ATH RE E Lewis F r eedma n a n d oh n McGi er t MUS I C ON CA E R . J fi CONF E S S I ONS OF A F I LM COMPOS E R Vi ctor Youn g F I LM AND TV MUS I C NE WS

Nu rfibe r 3

NOTE S ON THE RAINMAKE R (with s cor e exce r p t s ) LAB OR PAI NS CURRE NT S CORE S : Ana sta s ia Albei t S ch weit z e1 H e K o s Mr . s o aven n w , Alli n TH E WORLD OF J AZZ

Nu m be r 4

TH E M S CAL S RE TO THE PRIDE AND THE PA I eo e An heil U I CO S S ON . G rg t (wit h scor e excer p t s ) CURRE NT S CORE S : Ar ou n d t h e World in 80 Day s B oy On a Dol ph in ; NOTE S ON TH E S CORE OF A F ACE [N THE CROWD (with scor e excer pt s ) MUS I C AND TH E WI DE WI DE WORLD Da vid B r ockm a n A NN a n e E NCYCLOPE DI B RI TA I CA Da vid S . R tt r i ba ch er F I LM AND TV S CORE S ON LON ORDS J a m es L. L m fart I CRE DI TS IN CURRE NT RE LE AS E S

Nu mber 5

TWO RE CE NT S CORE S : TO YUM E ANNE E AGE LS eo e Dun in A, J G rg g ( with s om e exce1 pt s ) N OTE S ON TH RE E S CORE S : THE S TRANGE ONE , TWE LVE ANGR Y ME N B AB Y DOLL h h m es o o , (wit t e ) Ken y n H pkin s I e i i e COMPOS I NG FOR F I LMS : KE NYON H OP KI NS . . n t r v ewed by G d on B a ch m a n n CUR-RE NT S CORE S : Th e Paj am a Gam e Th om a s Ta lber t Th e S un Al s o Ri s es Wi lli s S chuel e r Sweet S m ell of S uccess Th om a s Ta lbe rt Lo t h e Af e n oo H a m i l on oh n s on ve in t r n t S . J ” MUS I C F OR YOUNG PE OPLE Ma ry P owell TH E S UMMONI NG OF E VE RYMAN (wit h scor e exce r pt s ) Alen Mor ri s on ' VI CTOR YOUNG ' Clifi or d McCa r ty

LM AND S RE S L N - PL E Li m ba ch er FI TV CO ON O G AYI NG R CORDS J a m es L. Pa r t II