Tag: Animation

  • Animated Shostakovich on “Picture Perfect”

    Animated Shostakovich on “Picture Perfect”

    Dmitri Shostakovich is justifiably celebrated for his monumental symphonies and probing string quartets. This week on “Picture Perfect,” however, for the composer’s birthday, we’ll enjoy two examples of his cartoon music.

    While still in his teens, Shostakovich helped support his family as a pianist in movie houses, enlivening silent images with his mercurial improvisations. This was great practice for his later collaborations with a number of notable Soviet filmmakers.


    Shostakovich was about 27 years-old in 1933, when he was hired by experimental animator Mikhail Tsekhanovsky to supply the manic underscore for “The Priest and His Hired Worker Balda.” Visionary though he was, Tsekhanovsky probably didn’t count on just how manic Shostakovich could be. The composer’s inspiration flowed like water down the Neva, and Tsekhanovsky struggled to keep up, all the while pushing himself to create images worthy of his collaborator.

    Then, in 1936, following the debut of the opera “Lady Macbeth of Mtsensk,” Shostakovich was condemned by the Soviet authorities in an infamous “Muddle Instead of Music” denunciation in Pravda, and the composer decided he had better cool his jets. The potentially inflammatory Symphony No. 4 went into a drawer, and he halted work on the film, which he had already been involved with, on and off, for nearly three years. When the denunciation came, he was in the process of wholly reorchestrating the existing music, at the studio’s request, for smaller forces.

    While the feature would remain unfinished, Tsekhanovsky compiled what he had – some 40 minutes in all – and the work was put into storage at the Lenfilm archives. Unfortunately, nearly all of it would be destroyed by fire during the Nazi siege of Leningrad in 1941.

    Only the bizarre bazaar scene survives. I’m willing to bet this clip will haunt the rest of your day.


    We’ll hear selections from Shostakovich’s score, shorn of the nightmare carnival imagery. We’ll also hear music he composed for the 1940 short “The Tale of the Silly Little Mouse.”


    The program will also include examples of the artistry of American cartoon luminaries Carl Stalling (Merrie Melodies, Looney Tunes, Silly Symphonies) and Scott Bradley (Tom and Jerry, Droopy Dog, Barney Bear) and conclude with excerpts from Disney’s groundbreaking “Snow White and the Seven Dwarfs,” featuring songs by Frank Churchill & Larry Morley and underscore by Paul J. Smith and Leigh Harline.

    Aaa-OOOGAH!! It’s an hour of music from the golden age of animation with Dmitri Shostakovich and friends, on “Picture Perfect,” music for the movies, now in syndication on KWAX Classical Oregon!

    ———-

    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

    SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

    Stream them, wherever you are, at the link.

    https://kwax.uoregon.edu/

    ———-

    BONUS! Shostakovich demonstrates his keyboard prowess, playing a selection from “Lady Macbeth of Mtsensk”

    https://www.youtube.com/watch?v=azFHiEh1jhk

  • Get Animated with “Picture Perfect”

    Get Animated with “Picture Perfect”

    “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.

    I think we can all use a little animation, can’t we? I hope you’ll join me for an hour of selections from computer-animated adventures, on “Picture Perfect,” music for the movies, now in syndication on KWAX Classical Oregon!

    ——-

    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

    SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu See less
  • Super Chicken and the Jay Ward Cartoon Legacy

    Super Chicken and the Jay Ward Cartoon Legacy

    I’ve got a buddy in Philadelphia with whom I’ve been chums since the seventh grade, and he can be counted on to send me freakish snapshots of back-alley Philly, links to badly-dubbed kung fu movies, wisecracks about his latest serial killer obsessions, and clips of politically incorrect comedians. Sometimes I have to be careful not to open his mail too close to breakfast.

    Last night, just before bed, he sent this, and it propelled me back across the decades.

    Even not having seen the cartoon since childhood, it’s etched into my brain. Who could possibly forget Super Chicken and his sidekick, Fred the Lion? (“You knew the job was dangerous when you took it, Fred.”)

    Henry Cabot Henhouse III is the Boston equivalent of the kind of fop long familiar from Zorro and “The Scarlet Pimpernel;” but in times of crisis, he downs his Super Sauce from a martini glass to become Super Chicken. His Super Suit resembles a D’Artagnan cast-off, supplemented with a domino mask. Fred, his manservant, wears his sweater inside-out. Note the backwards “F.”

    Super Chicken was part of the Fred Ward stable of freewheeling cartoons produced by Jay Ward of Rocky and Bullwinkle fame. Ward was the inexhaustible genius who also gave us Dudley Do-Right, Mr. Peabody and Sherman, Crusader Rabbit, Hoppity Hooper, Tom Slick, and George of the Jungle

    I learned something this morning, through a quick Google search, as there was a rival company, Total TeleVision, which produced Underdog, Tennessee Tuxedo, Klondike Kat, Commander McBragg, Tooter Turtle, and Go Go Gophers. For my entire life, I thought these were Ward productions. The confusion is understandable, since they were all animated in Mexico by Gamma Productions and shared a similar vibe.

    Somehow, the primitive animation worked with the concepts in ways they did not in your average, corner-cutting Hanna Barbera cartoons. The humor was offbeat, but knowing and referential, and it didn’t talk down. These were cartoons you could watch with your parents, and they would laugh too.

    The theme song was written by Sheldon Allman (lyrics) and Stan Worth (music). In one afternoon, they knocked out the insinuating introductions for “Super Chicken,” “Tom Slick,” and “George of the Jungle.”

    “Stan came over to my house,” Allman recalled. “We started at 1 o’clock, and by 4 o’clock we had the three songs.”

    Allman, quite a multi-talented fellow, died in 2002. I found this obituary in the Los Angeles Times.

    https://www.latimes.com/archives/la-xpm-2002-feb-08-me-allman8-story.html

    Bonus points for the “Super Chicken” opener featuring headshots of John Barrymore, Douglas Fairbanks, Valentino, and Boris Karloff! Watch it again. You know you want to.

    If Gilbert & Sullivan had lived in the 20th century, they might very well have contemplated the very model of a modern clucking super chicken!

    Super Chicken transformation compilation:

  • Animated Adventures Great Film Scores

    Animated Adventures Great Film Scores

    “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.

  • Bernstein’s 100th Birthday Google Doodle

    Bernstein’s 100th Birthday Google Doodle

    Fabulous Bernstein Google doodle! Google celebrates a round birthday for a change. Do a Google search today, or enjoy the animation here.

    https://www.vox.com/2018/8/25/17779096/leonard-bernsteins-100th-birthday-greatest-works

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