• Christopher Lee A Midsummer Centennial

    Christopher Lee A Midsummer Centennial

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    On St. John’s Eve, as Mercury joins Venus, Mars, Jupiter, and Saturn to form a five-planet alignment, and the near-full moon obscures the peak of the Boötid meteor shower, Lord Summerisle requests your presence at the Wicker Man!

    Take the night to cavort with Faust on the Brocken, share a few laughs with the demon Chernobog as he emerges from the Bald Mountain – but then rest up, as tomorrow, Midsummer, we celebrate the 100th anniversary of the birth of Christopher Lee (born May 27, 1922).

    On the next “Roy’s Tie Dye Sci Fi Corner,” Roy and I will discuss Lee’s life and storied career, which leaves a legacy of hundreds of films and television shows (“…and not all of them begin at 3 AM on Channel 9,” as he once quipped when hosting “Saturday Night Live” in 1978 – at which point he had only made 130 movies).

    On his mother’s side, as a Carandini, Lee belonged to one of the oldest families in Europe. His lineage could be traced to the first century AD, and he claimed descent from Charlemagne. The Carandinis were granted the right to bear the coat of arms of the Holy Roman Empire by Emperor Frederick Barbarossa. When his mother remarried, he became the half-cousin of Ian Fleming. At school, he knew ghost story writer M.R. James and composer John Addison. He once encountered his idol, actor Conrad Veidt, on a golf course. Jussi Björling was so enamored with his rich, bass-baritone voice that he offered to take him on as a pupil. He served in the Royal Air Force as an intelligence officer during World War II. And this was all before Lee became famous.

    The connections and coincidences keep piling up in a long and fortunate life. Lee died in 2015 at the age of 93. He remained a familiar face into the 21st century, thanks to his collaborations with Tim Burton and Martin Scorsese, and his roles as Count Dooku in the “Star Wars” prequels and Saruman the White in Peter Jackson’s “The Lord of the Rings.” In his final decade, he lent his voice to video games and, believe it or not, recorded two heavy metal albums. His autobiography, “Lord of Misrule” (formerly “Tall, Dark and Gruesome”) is required reading.

    Join us during a Midsummer syzygy for a panegyric to Christopher Lee, on the next “Roy’s Tie-Dye Sci-Fi Corner.” The comments section will be festooned with garlic, for a salute to this most prolific of cinematic Draculas. It will be a Midsummer night’s nightmare when we livestream on Facebook, this Friday evening at 7:30 EDT!

    https://www.facebook.com/roystiedyescificorner


  • Herrmann’s English Obsession

    Herrmann’s English Obsession

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    Before Bernard Herrmann emerged as a film composer of genius, he was music director at CBS Radio. There, he not only wrote incidental music for Orson Welles’ Mercury Theater (he would follow Welles to Hollywood in 1941 to write his first film score, for “Citizen Kane”), he also programmed and conducted broadcast concerts that were heavy on new, unusual, and neglected repertoire.

    Herrmann was a staunch Anglophile for his entire life. There’s no way he would have ignored the Vaughan Williams sesquicentenary. Shame on you, American orchestras! In the 1960s, when he was fired by Hitchcock from “Torn Curtain,” and he had had enough of Hollywood in general, he made London his permanent home. But already in the 1940s, he was guest conducting the Hallé Orchestra, at the invitation of Sir John Barbirolli. He also guest conducted the London Symphony Orchestra, and made a number of recordings with the London Philharmonic and National Philharmonic Orchestras, including some stunning albums of his film scores.

    English music featured regularly on Herrmann’s concerts. Here’s an attractive piece by Cyril Scott for the first full day of summer. You may recognize the English folk song on which it is based, “Early One Morning,” a cheerful enough melody somewhat at variance with its melancholy subject matter (a jilted lass lamenting the loss of her lover).

    Despite having left a sizeable output of orchestral, chamber, and instrumental works, Scott is largely remembered, if at all, for his piano miniature “Lotus Land.” Another good summer piece, come to think of it. In my library, I have a copy of Scott’s book, “Music: Its Secret Influence Throughout the Ages,” inscribed by the composer to Eugene Ormandy.

    Here, John Ogdon is the pianist, and Bernard Herrmann conducts the London Philharmonic Orchestra. Enjoy Cyril Scott’s “Early One Morning.” The big tune begins to coalesce around the four-minute mark.

    BONUS: Scott plays “Lotus Land”

    Bernard Herrmann on English music

    http://www.bernardherrmann.org/articles/archive-musicalengland/

    Herrmann the Anglophile

    http://www.musicweb-international.com/classrev/2003/oct03/herrmann_anglophile.htm


    PHOTO: Bernard Herrmann, early one morning


  • Lalo Schifrin Turns 90 A Scoring Legend

    Lalo Schifrin Turns 90 A Scoring Legend

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    On the first day of summer (winter in his native Argentina), Lalo Schifrin turns 90.

    Schifrin is the composer of over 100 film and television scores, including those for “Cool Hand Luke,” “Bullitt,” “Dirty Harry,” “Enter the Dragon,” “Mannix,” “Starsky and Hutch,” “Rush Hour,” and of course “Mission: Impossible.”

    Not everyone was a fan. Director William Friedkin was so displeased with Schifrin’s music for “The Exorcist,” he hurled the master tape out into the parking lot, in the presence of the composer. Schifrin had written music for the trailer, which had reportedly scared the pants off preview audiences, so the executives at Warner Bros. told Friedkin they wanted him to tone it down. Friedkin being Friedkin – this is, after all, the guy who fired guns on set to unnerve his actors and filmed the chase scene in “The French Connection” without a permit – he didn’t convey the message. Instead, he fired Schifrin and crammed his soundtrack with equally disturbing music by avant-garde masters Krzysztof Penderecki, George Crumb, Anton Webern, and Hans Werner Henze, not to mention Mike Oldfield.

    Happily, most of Schifrin’s other collaborators were more genial. A highly respected jazz pianist, he was discovered by Dizzy Gillespie, who hired him on the sight. Schifrin composed for Dizzy an extended work for big band, “Gillespiana,” in 1958. He worked frequently with Clint Eastwood and scored George Lucas’ first feature, “THX-1138.” In all, he earned 22 Grammy nominations (winning five), four Primetime Emmy nominations, and six Academy Award nominations. He received an honorary Oscar in 2018.

    Schifrin has lived in the United States since 1958, making a very healthy living arranging and composing across genres, including bossa nova, jazz, bebop, rock, and classical, all the while cashing those lucrative Hollywood paychecks – and collecting royalties for the continued use of his indelible theme in the “Mission: Impossible” film franchise.

    Happy birthday, Lalo Schifrin!


    “Concierto Caribeño” for flute and orchestra

    Lalo Schifrin and Dizzy Gillespie

    “Cool Hand Luke”

    Rejected score from “The Exorcist”

    https://www.youtube.com/watch?v=uVxZt_2qSCk

    The disturbing trailer

    https://www.youtube.com/watch?v=6XuB8DJ0AI8

    Lalo receives his honorary Academy Award from Eastwood

    Schifrin’s greatest hit


  • Lalo Schifrin Awe Inspiring Film Music at 90

    Lalo Schifrin Awe Inspiring Film Music at 90

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    Is he a classical composer who writes jazz, or a jazz musician who writes classical? He’s certainly one of the most distinctive composers of film and television music.

    On Lalo Schifrin’s 90th birthday, check out this documentary, which is full of rare footage, film clips, eyewitness accounts, and of course music.

    As I was watching I kept thinking the first few minutes alone should fill you with sufficient awe at Schifrin’s unique talent. But then the accomplishments just kept piling up!

    Thank you, Lalo Schifrin, and happy birthday!


  • Support Classical Music on WWFM This Summer

    Support Classical Music on WWFM This Summer

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    For many, the first day of summer signals a season of relaxation, more time spent outdoors, perhaps even a vacation or two. But for those of us in public radio, June means it’s almost the end of our fiscal year!

    Help us help YOU by enabling the widest range of great classical music on the radio and hopefully more community engagement in the coming year, with your donation today. Your contribution in any amount helps us to set our budget for 2022-23.

    Give us a call, send in your renewal check, or make a commitment online. Then be sure to have your radio, phone, or other electronic device with you this summer, so that you can listen with greater involvement, knowing that you’ve done your part to ensure the continued presence of classical music in your community.

    Call now at 1-888-232-1212 or donate online at wwfm.org. Make the opportunity to enjoy the finer things over the coming weeks: a portable chair, a cold beverage, a good book, some fine weather, and a lots of quality music.

    Happy summer, and thank you for your continued support of WWFM The Classical Network!

    https://wwwfm.secureallegiance.com/wwfm/WebModule/Donate.aspx?P=DEFAULT&PAGETYPE=PLG&CHECK=vOU2bz5JCWmgCDbf53nm9ezWDeZ%2BeA1M&fbclid=IwAR0G4gv-ruPjGdzzggef5ddtCkgXmMaApsGo8byrUCmxzIf3xQJEqCq8eOA


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