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Lincoln Center Festival lead support is provided by American Express July 6 –12 Avery Fisher Hall Danny Elfma n’s Music from the Films of Tim Burton Music Composed and Arranged by Danny Elfman Films and Artwork by Tim Burton Special Guest Performer Danny Elfman Conductor John Mauceri Violin Soloist Sandy Cameron Boy Sopranos John-Dominick Mignardi, Leif Christian Pedersen Philharmonia Orchestra of New York Concert Chorale of New York Approximate performance time: 2 hours 20 minutes, including one intermission Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2015 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would be neither here, there, nor probably anywhere without them and their general magnificence. Now, the world is fully aware of the individual genius to be found betwixt the two, but what is more important here is the way in which these unique talents combine and ulti - mately complement one another, allowing the other’s work to bloom in a way unfore - seen independently. Essentially, Danny’s darkly sonorous creations are the audio manifestations of Tim’s sin - gularly shadowy visions. He is the Ralph Steadman to Tim’s Hunter S. Thompson. Together they breathe color into one another’s worlds—from my initial experience, work - ing alongside them both—on Edward Scissorhands , throughout the many projects that constitute a relationship, which now spans some 20 years…and counting. His music, so warm and inviting, yet somehow unnerving, ultimately manages to sound both elegant and haunting, perfectly defining the character of that very first collaboration. Having then unearthed the precise mood of Tim’s film, within the divine notes of his celestial score, Danny soundtracked the tale’s soul deep into the hearts of millions. Subsequently, their working relationship has never floundered. Time after time, their industry gives birth to new beings of wonder and weirdness, charged to delight and excite cinema goers the planet ‘round. So, a match made in the stars, you might say. Tim and Danny, it was simply meant to be. —Johnny Depp LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON Program Program order and selections are subject to change. ACT I Charlie and the Chocolate Factory Pee-wee’s Big Adventure Beetlejuice Sleepy Hollow Boy Soprano: Leif Christian Pedersen Mars Attacks! Big Fish Batman/Batman Returns Intermission ACT II Planet of the Apes Tim Burton’s Corpse Bride Dark Shadows Frankenweenie Edward Scissorhands Violin: Sandy Cameron Tim Burton’s The Nightmare Before Christmas Guest Performer: Danny Elfman Alice in Wonderland Boy Soprano: John-Dominick Mignardi LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON Danny Elfman’s Music from the Films of Tim Burton Music Composed and Arranged by Danny Elfman Films and Artwork by Tim Burton Concert Produced by Tim Fox and Alison Ahart Williams of Columbia Artists Management LLC Richard Kraft and Laura Engel of Kraft-Engel Management Supervising Orchestrator Steve Bartek Orchestrations Steve Bartek , Edgardo Simone , David Slonaker , Jeff Atmajian Additional Orchestrations Scott Dunn Music Production Supervisor Melisa McGregor MIDI Supervision and Choir Music Preparation Marc Mann Synth Programming and Technical Supervision TJ Lindgren Score Proofreading Misha Morgovsky , Tim Rodier Music Preparation Dakota Music Services, David Hage ; Reprise Music Services, Rob Skinnell Assistant to Mr. Elfman Melissa Karaban Pre-record Mix Engineer Noah Snyder Chief Studio Tech Greg Maloney Transcriptions Tim Rodier MIDI Mock-ups Dan Negovan , Peter Bateman , Miles Bergsma Technical Directors Mike Edelman , Brendon Boyd , John Kinsner Audio Consultant Paul Bevan Librarians Travis Hendra , Scott McRae Sibelius Set-up Sandra Schneiders Project Interns Alex Arntzen , Seth Kaplan , Sergei Stern Video Editing Todd Miller , Chris Lebenzon Concert Producers’ Assistants Jonathan Clark , Sarah Kovacs , Sarah Davis Special thanks to: Derek Frey, Holly Kempf Keller, and Leah Gallo at Tim Burton Productions, Bill Abbott, Bob Badami, Peter Cobbin, Bobby Fernandez, Isobel Griffiths, Mike Higham, Doug Mark, Shawn Murphy, Bobbi Page, Shie Rozow, Dennis Sands, Steve Savitsky, Ellen Segal, Thiago Tiberio, Nick Woolidge, Gina Zimmitti, Patti Zimmitti, Cinesamples, and Thomas DiGiovanni. In loving memory of Richard Zanuck LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON Thirty Years of In high school Elfman began listening to the classical composers who would later Elfman and Burton become his inspiration. The Russian com - Danny Elfman’s working relationship with posers Stravinsky, Prokofiev, and Shos - Tim Burton is one of the longest and most takovich particularly got under his skin. He successful filmmaker/composer collabora - also began to refine his interest in film, tions in the history of film—and one of the rediscovering Bernard Herrmann through most unexpected. Elfman was drawn to the legendary composer’s other great col - the movies his entire life, but only came to laborator, Alfred Hitchcock. Elfman was music as a young adult with no formal absorbing the language of movie music. training. It was at 18, during a year of trav - His first taste in scoring would come from eling in West Africa, when Elfman picked another collaboration with his brother, who directed the cult film Forbidden Zone in the up his first musical instrument (violin) and late ’70s—but he wouldn’t truly become a began to toy with the fantasy of a musical film composer until 1985, when he got a direction for his life. At 19 he teamed up strange call from an extraordinary young with his brother Richard, who founded the animator he had never heard of. avant-garde musical cabaret troupe The Mystic Knights of the Oingo Boingo, and it Tim Burton came out of the suburbs of was there Elfman taught himself to write Burbank and the California Institute for the music by doing transcriptions of the works Arts (CalArts), and, like Elfman, he had of 1930s jazz bands. He also began writing been mesmerized by Ray Harryhausen’s his first original compositions. stop-motion fantasies as a child, as well as the vivid black-and-crimson iconographies After eight years with the troupe, Elfman of horror films. Burton had made an started the idiosyncratic rock band known uncomfortable fit for the Walt Disney simply as Oingo Boingo. As their writer Company, toiling as a conceptual artist and and singer he performed and recorded animator on movies like The Fox and the with them for almost two decades. Hound . But his short film Frankenweenie grabbed the attention of executives and But there was another side to Danny filmmakers in Hollywood, including Paul Elfman—the kid who religiously attended Reubens, the performer who created and Saturday matinees, watching every type of portrayed Pee-wee Herman. Reubens and horror and fantasy movie imaginable. The Phil Hartman had written a movie for the young Danny had no interest in music—he character called Pee-wee’s Big Adventure , wanted to be a scientist, or a “radiation and after seeing Frankenweenie , Reubens biologist” as he once explained. When he quickly lobbied for Burton to direct it. did begin to notice music, it was movie music, and he found a particular delight in Both Burton and Reubens were familiar the filmmaker/composer relationship of with Danny Elfman through Oingo Boingo stop-motion animator Ray Harryhausen and Forbidden Zone , and when editor Billy and Bernard Herrmann. “If I saw the Webber tracked a scene from the movie names Harryhausen and Herrmann in the with music from Bernard Herrmann’s same title sequence,” he said, “I already score to the Harryhausen movie The 7th knew the movie was going to be a huge Voyage of Sinbad , Burton loved the effect. favorite—something really special.” When Elfman came in to interview for the LINCOLN CENTER FESTIVAL 2015 DANNY ELFMAN’S MUSIC FROM THE FILMS OF TIM BURTON job, he happened to mention that very Amazingly, Elfman faced doubts again on same score as one of his life-long his fourth collaboration with Burton, favorites. Burton was sold, and Elfman, Edward Scissorhands . With three suc - after some hesitation, decided to jump into cesses under his belt, Burton could afford a completely new world, figuring he would to make a film that was truly his, and either learn to swim or drown in the Edward was nakedly autobiographical, attempt. He was certain of one thing—that depicting an inarticulate, artistic character the score would not be a rock score. He adrift in a hostile world that looked suspi - would explore an insane mashup of ciously like the suburbs of Burbank. There Bernard Herrmann and Nino Rota (who did were no questions about whether Elfman Federico Fellini’s scores) and in the pro - could score this kind of a movie, because cess created an alternately joyous and no one knew what kind of a movie Edward manic sound that fit the hyper-enthusiastic Scissorhands was. But from the opening Pee-wee character like a glove. celeste notes of Elfman’s score, it was clear he had found Edward’s soul. Edward Elfman’s score to Pee-wee’s Big Adventure Scissorhands became a film music genre was a revelation, and an instantly indelible just as much as Burton’s film defined his musical personality had invaded film. And output as a director—and it’s still perhaps Elfman was also now hooked on a new Elfman’s most imitated and personal work.

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