Tomorrow is Independence Day, so it seems appropriate this week on “Picture Perfect” to treat the subject of music from movies related to the birth of our nation.
We’ll hear selections from the 2000 Mel Gibson film, “The Patriot,” in which slow-burning pacifist Mel is pushed too far by ruthless British officer Jason Isaacs and reverts to his bloody French and Indian War ways. By the end of the film, he is literally waving the flag to John Williams’ triumphant score.
Then we’ll hear a suite from the 1942 Jack Benny-Ann Sheridan fixer-up comedy, “George Washington Slept Here,” based on the play by Moss Hart and George S. Kaufman – not really about the Revolution, beyond the fact that the ramshackle Pennsylvania farm house purchased by a transplanted New York couple is alleged to have been a resting place for the Continental Army’s most famous general. The music is by Adolph Deutsch.
The 1985 film, “Revolution,” seemed to have everything going for it. The director was Hugh Hudson, whose “Chariots of Fire” was the big winner at the 1981 Academy Awards; its star was Al Pacino; and its composer was John Corigliano, who went on to win the Pulitzer Prize for Music for his Symphony No. 2 and an Academy Award for “The Red Violin.” Yet “Revolution” bombed horribly – so horribly that Pacino gave up making movies for the next four years. James Galway plays the flute and pennywhistle on the film’s soundtrack.
Finally, we’ll hear music from the longest continuously-shown film in cinematic history, “Williamsburg: The Story of a Patriot,” created exclusively for the tourist attraction of Colonial Williamsburg. The film features future “Hawaii Five-O” star Jack Lord, and the score is by none other than Bernard Herrmann. Peppered with recognizable patriotic tunes from the Revolutionary era, the charming suite includes quotations from “Yankee Doodle” and the William Billings hymn “Chester.”
Stick a feather in your hat and call it macaroni. Then join me for “Picture Perfect,” music for the movies, now in syndication on KWAX!
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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
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PHOTO: George Washington wagers he can crack a walnut with his bare hand in “Williamsburg: The Story of a Patriot”
Tag: Bernard Herrmann
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250 Years of Independence, and All I Got Was “Picture Perfect”
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Leroy Anderson and Bernard Herrmann: American Masters
The composers Leroy Anderson and Bernard Herrmann rose to prominence, in their respective ways, through their invaluable contributions to American popular culture.
Anderson (1908-1975), whose fluency in foreign languages (especially those of Scandinavia) made him an asset to the U.S. Army during the Second World War, was more or less staff composer for the Boston Pops.
His early work for the Pops was as an arranger. It was Arthur Fiedler who recognized his talent and began requesting original work. Good call. Anderson turned out to be the Irving Berlin of American light orchestral music, producing hit after hit after hit: “Blue Tango,” “The Typewriter,” and “Plink! Plank! Plunk!” among them. Johnny Mathis scored a gargantuan success with his vocal rendition of “Sleigh-Ride,” for more than half a century a holiday staple. Anderson’s “The Syncopated Clock,” a favorite from the start, became further entrenched in the popular consciousness as the theme music for “The Late Show,” a showcase for the CBS late night movie.
Herrmann (1911-1975) was staff conductor for CBS radio. In this role, he introduced American audiences to an impressive array of comparatively arcane music for the era, including works by Charles Ives, Nikolai Myaskovsky, Gian Francesco Malipiero, Edmund Rubbra, and Richard Arnell.
He fell in with Orson Welles, with whom he worked on radio shows such as “Mercury Theatre on the Air” (including Welles’ notorious adaptation of “War of the Worlds”). When Welles went to Hollywood, Herrmann went with him, to write the music for “Citizen Kane.” This would be the first of decades worth of finely-crafted film scores, always orchestrated by Herrmann himself (an unusual practice in Hollywood) and always perfectly suited to the images on screen, or their psychological underpinnings.
Of course, Herrmann is best-known for his collaborations with Alfred Hitchcock (including “Vertigo,” “North by Northwest,” and “Psycho”), but he also wrote top-notch, ear-opening scores for producer Charles Schneer and special effects artist Ray Harryhausen (most notably “Jason and the Argonauts”). Amazingly, he won only a single Oscar, for his work on “The Devil and Daniel Webster,” in 1941. Herrmann died of a heart attack shortly after completing the recording sessions for Martin Scorsese’s “Taxi Driver,” in 1975.
Happy birthday, gentlemen! Thanks for all the music.
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Staying up late with “The Syncopated Clock”
“North by Northwest”————-
PHOTOS: Cranky Herrmann needs caffeine; sunny Anderson remembers his royalty checks -
No Picnic: “Requiescat in pace” on “The Lost Chord”
To a great many, Memorial Day is the unofficial start of summer, a time for picnics and trips to the shore, for Hollywood to flood the multiplexes with soulless blockbusters, a signifier of the end of school, and the beginning of three long, lazy months of way too much daylight.
But it didn’t always bear those associations. The precursor of Memorial Day was Decoration Day, first widely observed in 1868, to honor and remember those who died in the Civil War. It was a time for decorating graves, making solemn speeches, and marching in parades. These customs metamorphosed to the point where, after World War I, Memorial Day was seen as an occasion to honor those who died in ALL American wars.
Regardless of how one may perceive armed conflict, of whether any given war may be called just or unjust, it is not war itself or conflict in general that is being celebrated. Rather, it is the sacrifice of those who died in defense of a larger cause, and ostensibly that cause has been for the common good.
One would think, were one an idealist, that by this stage of our collective development, when any disruption in the global fabric obviously effects all of us, that wars would be considered obsolete. But sadly, human nature being what it is, there will probably always be reasons to remember.
This week on “The Lost Chord,” we’ll salute those who made the ultimate sacrifice, by listening to three works commemorating the dead of World War II, including “For the Fallen,” a berceuse for orchestra by Bernard Herrmann; Aaron Copland’s Violin Sonata, dedicated to Lt. Larry H. Dunham, who was killed in the Pacific in 1943; and the peace cantata “A Time for Remembrance,” by John Duffy.
Duffy himself was a World War II veteran, who lied about his age when enlisting. He became part of the Amphibious Scouts and Raiders, forerunners to the Navy SEALs, before deploying on the USS Hopping, a destroyer escort in the Pacific. His duties included detonating Japanese mines by shooting them from ship deck. When his ship took fire from shore batteries at Okinawa, the sailor standing next to him was killed. Duffy had to stand guard over the dead man’s body until burial at sea in the morning. That night watch determined the course of his life. “Since our time is so fleeting and unpredictable,” he later commented, “I knew I had to dedicate my life to music.”
War is no picnic. I hope you’ll join me for “Requiescat in pace,” on “The Lost Chord,” now in syndication on KWAX Classical Oregon.
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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
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John Duffy on his war experiences and his decision to become a composer: -
A Hollywood Bowl Super-concert on “Picture Perfect”
Regardless of how you feel about the current state of the industry or the awards ceremony itself, you have to concede, there’s quite a rich history of impressive music written for film. And the Academy Awards is always the perfect excuse to look back.
This week on “Picture Perfect,” I’ll be leaning heavily into the nostalgia, as virtually every major composer from the golden age of Hollywood comes together at the Hollywood Bowl for a concert of now-classic film scores, originally broadcast on CBS Television in 1963. The event is often referred to as “the greatest film music concert in history.”Participants included, among others, Alfred Newman (“How the West Was Won”), David Raksin (“Laura”), Alex North (“Cleopatra”), Johnny Green (“Raintree County”), Franz Waxman (“A Place in the Sun”), Bernard Herrmann (“North by Northwest”), Dimitri Tiomkin (“High Noon”), and Miklós Rózsa (“Ben-Hur”). They were joined by Mahalia Jackson, Andy Williams, and Jack Benny!
An album was released on LP, but understandably the three-hour concert was severely truncated. This was somewhat remedied on a CD-reissue on the Columbia Legacy label in 1995 that included 70 minutes of music. Among the casualties, however, was Elmer Bernstein conducting the theme to “The Magnificent Seven.” I will perform a service to film music by restoring that cut from another source.
Based on my reading and the fact that I’m finding other selections in my personal library that were recorded at the venue on the same date, there’s still much that remains to be compiled. Put out whatever you’re holding back on a double-disc, please, Sony Classical!
Hollywood couldn’t assemble this much musical talent today if it tried. Fortunately, recordings like this one endure. I hope you’ll join me for “Once Upon a Time in Hollywood” on “Picture Perfect,” music for the movies, now in syndication on KWAX Classical Oregon!
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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 -
Music Propels the Action on “Picture Perfect”
This week on “Picture Perfect,” we take flight with music from movies about airports and airplanes.
In the original “Airport” (1970), producer Irwin Allen established the prototype for disaster movies of all stripes by placing an all-star, aging cast in spectacular peril. Burt Lancaster! Dean Martin! George Kennedy! Jean Seberg! Jacqueline Bisset! Helen Hayes! The list goes on and on, longer than the longest runway. The bongo-laden theme is by veteran film composer Alfred Newman,” from the last of his over 200 scores.
Another movie with something of the same feel is “The V.I.P.s” (1963), allegedly inspired by the real-life love-triangle of Vivien Leigh, Laurence Olivier, and Peter Finch. The story is set at London Heathrow Airport, where flights are delayed because of a dense fog. The film was written by Terrence Rattigan and the parts cast from another laundry list of stars, including Elizabeth Taylor, Richard Burton, Louis Jourdan, Maggie Smith, Rod Taylor, and Orson Welles, with Margaret Rutherford in an Academy Award-winning performance. The music is by Miklós Rózsa.
By contrast, Steven Spielberg’s “The Terminal” (2004) is an (intentionally) comic take on the predicament of a hapless Eastern European who finds himself in a kind limbo, trapped in an international arrivals terminal in New York, after his country erupts into civil war, so that his passport and other documentation are no longer valid. His plight mirrors that of real-life Mehran Karimi Nasseri, an Iranian who lived for 17 years in a terminal at Charles de Gaulle Airport.
Tom Hanks plays the unfortunate traveler, who makes the terminal his home, and Catherine Zeta-Jones the airline attendant with whom he strikes up a relationship. The music is by regular Spielberg collaborator John Williams (whose 94th birthday it is on Sunday), and I think you’ll find it quite different from the Williams known for his work on “Star Wars” and “Indiana Jones.”
Finally, we’ll turn to the Alfred Hitchcock thriller “North by Northwest” (1959), a film in which Cary Grant encounters love and danger in, on, and from a variety of planes, trains, and automobiles. Planes are particularly significant. During the course of the film, it’s revealed that the title is in reference to a Northwest Airlines flight; Eve Kendall (Eva Marie Saint) must do all she can to avoid getting on a plane with Phillip Vandamm (James Mason); and of course, Roger Thornhill (Grant) flees from a strafing crop duster. Bernard Herrmann’s opening fandango propels us into the adventure.
FUN FACT: The film’s most iconic scene (pictured) is actually played without music.
Rush more to Rushmore! Music propels the action on “Picture Perfect,” music for the movies, now in syndication on KWAX Classical Oregon!
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Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST
SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EST/8:00 AM PST
THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST
Stream them, wherever you are, at the link!
https://kwax.uoregon.edu
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