Tag: Film Music

  • Doreen Carwithen Unsung Film Composer

    Doreen Carwithen Unsung Film Composer

    This week on “Picture Perfect,” we’ll shine a light on the shamefully underutilized talent of Doreen Carwithen.

    In 1941, Carwithen studied harmony and composition with William Alwyn at London’s Royal College of Music. For both, it was love at first sight. Their fateful pairing led to a decades-long romance that culminated in their marriage, finally, in 1975.

    The reason for the delay was, unfortunately, at the time of their meeting, Alwyn happened already to be married. The double-life caused tremendous stress. Alwyn, in particular, descended into alcoholism and suffered a nervous breakdown. Finally, his doctor urged him that, if he was going to live at all, he should get on with it already and live honestly.

    In the concert hall, Alwyn – a contemporary of William Walton and Michael Tippett – enjoyed comparative success as a symphonist. Carwithen, too, got off to a promising start. Her overture “ODTAA (One Damn Thing After Another)” was conducted by Adrian Boult at Covent Garden in 1947. She also wrote two award-winning string quartets. But the cinema promised more lucrative employment. Carwithen was the first selected by J. Arthur Rank to enter the college’s new film music program.

    Combined, during their heyday, in the 1940s and ‘50s, Alwyn and Carwithen wrote the music for over 100 films. Alwyn, in particular, scored such high-profile projects as “The Crimson Pirate,” “A Night to Remember,” and “The Swiss Family Robinson.” Carwithen, although groomed for the very purpose, was not given the same opportunities. In all, she scored only six dramatic features. The rest were documentaries and shorts.

    Neither were her concert works, though well-received, met with the same enthusiasm or eagerness by either programmers or publishers. In 1961, she became Alwyn’s secretary and amanuensis, and following his death in 1985, devoted herself to the preservation of his legacy.

    Following her own death, in 2003, discovered among her papers were sketches for an unfinished string quartet (her third), a symphony, and a cello concerto. One can only imagine that, as an artist, her potential remained unfulfilled.

    We’ll do our best to level the playing field for an hour, anyway, dividing the program between Alwyn and Carwithen, 50/50, this week, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of 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 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/

  • John Williams Birthday Salute on Sweetness and Light

    John Williams Birthday Salute on Sweetness and Light

    I just finished producing a salute to John Williams, to be broadcast on the occasion of his 93rd birthday on “Sweetness and Light.” It turned out to be quite the miscellany – 15 selections – and I assure you, they’re not all the usual suspects, as you will divine from the CD on the top of the pile!

    If you’re a Williams fan – and who isn’t it? – I hope you’ll join me this Saturday morning at 11:00 EST/8:00 PST. I’ll be lighting an awful lot of candles on KWAX, the radio station of the University of Oregon!

    Stream it, wherever you are, at the link:

    https://kwax.uoregon.edu/

  • Elizabeth I in Film Music Picture Perfect

    Elizabeth I in Film Music Picture Perfect

    This week on “Picture Perfect,” get ready to don your ruffed collars and codpieces. It’s an hour of music from films about Elizabeth I.

    “Fire Over England” (1937) is most notable, perhaps, for the first screen pairing of future husband-and-wife Laurence Olivier and Vivian Leigh. The couple play young lovers who face down the threat of Spanish invasion. Flora Robson is the queen (naturally). Robson would reprise her role a few years later in the Errol Flynn vehicle “The Sea Hawk.” Raymond Massey, Robert Newton, and James Mason also appear. Based on the novel by A.E.W. Mason, the film was produced by Alexander Korda, who would achieve even greater success when he spearheaded a classic version of Mason’s novel “The Four Feathers” in 1939. The music is by Richard Addinsell – yes, he of “Warsaw Concerto” fame.

    Following in the footsteps of Leigh and Olivier, Jean Simmons and Stewart Granger were paired both professionally and romantically during the making of “Young Bess” (1953). The film recounts Elizabeth’s early days, from her childhood to the eve of her accession to the throne. Simmons plays the title role and Granger is Thomas Seymour. As an unexpected bonus, Charles Laughton returns to reprise his Oscar-winning portrayal of Henry VIII. Laughton had received the award 20 years earlier, for his characterization in “The Private Life of Henry VIII.” “Young Bess” was also produced by Korda (who, in addition, directed Laughton in the earlier film!). The music is by Miklós Rózsa, composer of choice for so many wonderful period pictures of the 1950s and ‘60s.

    As an interlude, we’ll enjoy some flavorful dances, heavily indebted to period models, from “Elizabeth” (1998). The composer, David Hirschfelder, is an Australian keyboardist, who has performed mostly with fusion jazz, rock, and pop ensembles. Cate Blanchett, who plays the title role, returned nine years later for a sequel, “Elizabeth: The Golden Age.”

    Finally, Bette Davis will bring it to a grand total of three actresses represented in the hour who portrayed Elizabeth twice. In 1955, Davis starred in “The Virgin Queen;” 16 years earlier, she appeared opposite Errol Flynn in “The Private Lives of Elizabeth and Essex” (1939). For the latter, Erich Wolfgang Korngold provided the characteristically opulent score.

    I hope you’ll join me in basking in the glory of Gloriana. Elizabeth I is our focus, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of 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 EST/5:00 PM PST

    SWEETNESS AND LIGHT, the light music program – ALL NEW! – 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/

  • Princeton Symphony Soundtracks Talk Online

    Princeton Symphony Soundtracks Talk Online

    The Princeton Symphony Orchestra was kind enough to include a reminder of my recent PSO Soundtracks talk, “Picture Perfect: Music and the Movies,” in their E-newsletter earlier this week. The presentation was given at Princeton Public Library on October 8th. If you missed it and have been hoping to catch the video, it’s been archived here:

    https://www.princetonsymphony.org/bravo/programs/soundtracks-talks

  • Film Music Talk Michael Abels Princeton Symphony

    The @[100043116381457:2048:Princeton Symphony Orchestra] has posted the film music talk I delivered last week at Princeton Public Library. Videographer Briann Dixon did an amazing job making me look and sound great. I gave a whirlwind history of music in film, interleaved with some of my personal observations and experiences, including some especially affectionate memories of a childhood full of monster movies and “Star Wars.” Follow the link if you care to check it out.

    Michael Abels, a Pulitzer Prize winner (for his opera “Omar”) and composer of choice for director Jordan Peele (“Get Out,” “Us,” and “Nope”), will be one of the featured composers on this weekend’s concerts of the PSO, at Princeton University’s Richardson Auditorium, Saturday at 8 p.m. and Sunday at 4 p.m. Abels’ “More Seasons” is a response to Vivaldi’s “Four Seasons.”

    Also on the program will be Prokofiev’s “Classical Symphony” and Beethoven’s “Triple Concerto,” which should be something else in Richardson’s intimate setting. PSO concertmaster Basia Danilow will be joined by principal cellist Alistair MacRae and pianist Steven Beck. The orchestra’s music director, Rossen Milanov, will conduct. To learn more, visit princetonsymphony.org

    My personal thanks to the PSO, Princeton Public Library, and Briann!

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