• Animated Adventures Music for the Soul

    Animated Adventures Music for the Soul

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    “Music is a moral law,” wrote Plato. “It gives soul to the universe, wings to the mind, flight to the imagination… and life to everything.”

    That includes computer-generated imagery.

    While my distaste for the overkill of CGI in alleged “live action” movies is quite well known, I have to concede that, when shelling out the clams for a big-budget movie, one stands a better chance these days of getting a quality ride if one banks on the solely computer-animated feature. Put an action hero in a computer-animated landscape, and everything looks incredibly fake. But integrate the characters, by creating them in the computer as well, and the result is often much more absorbing, imaginative, and even wittier than your run-of-the-mill Hollywood blockbuster.

    Furthermore, in a day when so many movies sport scores made up of droning electronics punctuated by colorless action cues, the computer-generated feature seems to attract composers who still understand how to write music.

    This week on “Picture Perfect,” we’ll listen to enlivening scores from four computer-generated films.

    We’ll hear selections from the first installment in the “Ice Age” franchise, by David Newman (son of Golden Age heavy-hitter Alfred Newman, brother of Thomas Newman, and cousin of Randy Newman).

    We’ll also have some of John Williams’ music from “The Adventures of Tintin,” after the comic book adventurer created by Belgian artist and writer Hergé. Tintin’s popularity in Europe failed to translate into big domestic box office, comparatively speaking, but the score is Williams’ best of its kind – an exciting adventure piece full of leitmotifs and great action cues – since the first of the Harry Potter films.

    We’ll round out the hour with two projects scored by Michael Giacchino for Pixar Animation Studios. Giacchino’s break-out success was the sly superhero satire, “The Incredibles,” for which he composed in the swinging ‘60s espionage style popularized by John Barry when writing for the James Bond films.

    We’ll also hear selections from Giacchino’s Academy Award-winning score to “Up.” “Up” was nominated for Best Picture at the 82nd Academy Awards, only the second animated feature ever to be included in the category.

    We can all use a little animation right now. I hope you’ll join me for an hour of music from computer-animated adventures, on “Picture Perfect,” this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


  • Animated Adventures Great Film Scores

    Animated Adventures Great Film Scores

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    “Music is a moral law,” wrote Plato. “It gives soul to the universe, wings to the mind, flight to the imagination… and life to everything.”

    That includes computer-generated imagery.

    While my distaste for the overkill of CGI in alleged “live action” movies is quite well known, I have to concede that, when shelling out the clams for a big-budget movie, one stands a better chance these days of getting a quality ride if one banks on the solely computer-animated feature. Put an action hero in a computer-animated landscape, and everything looks incredibly fake. But integrate the characters, by creating them in the computer as well, and the result is often much more absorbing, imaginative, and even wittier than your run-of-the-mill Hollywood blockbuster.

    Furthermore, in a day when so many movies sport scores made up of droning electronics punctuated by colorless action cues, the computer-generated feature seems to attract composers who still understand how to write music.

    This week on “Picture Perfect,” we’ll listen to enlivening scores from four computer-generated films.

    We’ll hear selections from the first installment in the “Ice Age” franchise, by David Newman (son of Golden Age heavy-hitter Alfred Newman, brother of Thomas Newman, and cousin of Randy Newman).

    We’ll also have some of John Williams’ music from “The Adventures of Tintin,” after the comic book adventurer created by Belgian artist and writer Hergé. Tintin’s popularity in Europe failed to translate into big domestic box office, comparatively speaking, but the score is Williams’ best of its kind – an exciting adventure piece full of leitmotifs and great action cues – since the first of the Harry Potter films.

    We’ll round out the hour with two projects scored by Michael Giacchino for Pixar Animation Studios. Giacchino’s break-out success was the sly superhero satire, “The Incredibles,” for which he composed in the swinging ‘60s espionage style popularized by John Barry when writing for the James Bond films.

    We’ll also hear selections from Giacchino’s Academy Award-winning score to “Up.” “Up” was nominated for Best Picture at the 82nd Academy Awards, only the second animated feature ever to be included in the category.

    We can all use a little animation right now. I hope you’ll join me for an hour of music from computer-animated adventures, on “Picture Perfect,” this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


  • Saul Bass Celebrates 100 Years of Iconic Design

    Saul Bass Celebrates 100 Years of Iconic Design

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    Today is the 100th anniversary of the birth of legendary graphic artist Saul Bass. Not only did Bass design some of the most iconic corporate logos in North America, for 40 years he left his indelible mark on the motion picture industry, both as a designer of movie posters and as a creator of now-classic title sequences. Bass once described his aim in imagining an effective title sequence as trying “to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story.” His striking creations enhanced the work of Otto Preminger, Alfred Hitchcock, Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many others. Bass died in 1996 at the age of 75.


  • Animated Film Scores Soar on Picture Perfect

    Animated Film Scores Soar on Picture Perfect

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    in
    6 responses

    “Music is a moral law,” wrote Plato. “It gives soul to the universe, wings to the mind, flight to the imagination… and life to everything.”

    That includes computer-generated imagery.

    While my distaste for the overkill of CGI in alleged “live action” movies is quite well known, I have to concede that, when shelling out the clams for a big-budget movie, one stands a better chance these days of getting a quality ride if one banks on the solely computer-animated feature. Put an action hero in a computer-animated landscape, and everything looks incredibly fake. But integrate the characters, by creating them in the computer as well, and the result is often much more absorbing, imaginative, and even wittier than your run-of-the-mill Hollywood blockbuster.

    Furthermore, in a day when so many movies sport scores made up of droning electronics punctuated by colorless action cues, the computer-generated feature seems to attract composers who still understand how to write music.

    This week on “Picture Perfect,” we’ll listen to enlivening scores from four computer-generated films.

    We’ll hear selections from the first installment in the “Ice Age” franchise, by David Newman (son of Golden Age heavy-hitter Alfred Newman, brother of Thomas Newman, and cousin of Randy Newman).

    We’ll also have some of John Williams’ music from “The Adventures of Tintin,” after the comic book adventurer created by Belgian artist and writer Hergé. Tintin’s popularity in Europe failed to translate into big domestic box office, comparatively speaking, but the score is Williams’ best of its kind – an exciting adventure piece full of leitmotifs and great action cues – since the first of the Harry Potter films.

    We’ll round out the hour with two projects scored by Michael Giacchino for Pixar Animation Studios. Giacchino’s break-out success was the sly superhero satire, “The Incredibles,” for which he composed in the swinging ‘60s espionage style popularized by John Barry when writing for the James Bond films.

    We’ll also hear selections from Giacchino’s Academy Award-winning score to “Up.” “Up” was nominated for Best Picture at the 82nd Academy Awards, only the second animated feature ever to be included in the category.

    We can all use a little animation right now. I hope you’ll join me for an hour of music from computer-animated adventures, on “Picture Perfect,” this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


  • Brahms & Tchaikovsky Anniversary On Air Today

    Brahms & Tchaikovsky Anniversary On Air Today

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    5 responses

    They were like the Felix and Oscar of Romantic music – the high-strung, fastidious Tchaikovsky, and the acerbic, unkempt Brahms. May 7th marks the anniversary of the births of these twin titans of hirsute Romanticism.

    The Classical Network will honor both artists with three hours of their music, lovingly assembled by David Osenberg from YOUR requests. These selections, submitted last week, will air today at 12:00, 4:00 & 6:00 p.m. EDT.

    I always find it oddly endearing that Brahms and Tchaikovsky were able to look past their personal aversions to one another’s music to actually grow to appreciate their individual qualities as people. There’s a lesson to be learned from that, I think.

    Initially, Tchaikovsky might have been right at home posting in a YouTube comments section, confiding to his diary, “I have played over the music of that scoundrel Brahms. What a giftless bastard!”

    For his part, Brahms indelicately drifted off to sleep during a rehearsal of Tchaikovsky’s Fifth Symphony – unfortunately, while in the presence of the composer.

    According to the pianist Zygmunt Stojowski, “Tchaikovsky’s comment to me was that he would have been deeply hurt had he not, himself, frankly hated the Brahms symphonies.”

    The two composers met unexpectedly in Leipzig in 1888. They must have been as surprised as anyone to find themselves actually delighting in one another’s company.

    “I’ve been on the booze with Brahms,” Tchaikovsky wrote. “He is tremendously nice – not at all proud as I’d expected but remarkably straightforward and entirely without arrogance. He has a very cheerful disposition, and I must say that the hours I spent in his company have left me with nothing but pleasant memories.”

    The following year, the two met again in Hamburg. That’s when Brahms slept through the Fifth Symphony. Tchaikovsky bore it lightly and was convivial throughout the meal they shared afterward. Although Brahms was harsh in his assessment of the last movement of the symphony and Tchaikovsky confessed an overall aversion to Brahms’ style, the evening was full of good cheer and ended with Tchaikovsky inviting Brahms to visit him in Russia.

    How large a role alcohol may have played in the two men’s warmth for one another we can only guess. It was not just anyone who could be Brahms’ drinking buddy.

    Regardless of their mutual affection, the two never could reconcile themselves to one another’s music. When asked what he thought of a piano trio Brahms had been rehearsing (the Trio in C minor), Tchaikovsky was polite but frank: “Don’t be angry with me, my dear friend, but I did not like it.”

    Tune in today to enjoy music by both Brahms and Tchaikovsky, culled from listener-requests, at 12, 3 & 6 p.m., on WWFM – The Classical Network. And while you’re doing so, please consider supporting us during these difficult times, at wwfm.org. Thank you!


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