Classic Ross Amico

Tag: Film Scores

Hollywood’s Golden Age Remembered on WPRB

What the hell happened to Hollywood? As those of us who remember “the way it used to be” brace ourselves for another year of insipid red carpet banter, I thought we’d take a look back, this Sunday morning on WPRB, and revisit a lost era of glamour and dreams by way of recordings of music from Hollywood’s Golden Age.

Join me for highlights from a concert originally broadcast on CBS Television back in 1963. The program, “Music from Hollywood,” was made up of classic film scores mostly conducted by the composers themselves at the Hollywood Bowl. These included “How the West Was Won” (Alfred Newman), “Laura” (David Raksin), “Cleopatra” (Alex North), “Raintree County” (Johnny Green), “A Place in the Sun” (Franz Waxman), “North by Northwest” (Bernard Herrmann), “High Noon” (Dimitri Tiomkin), and “Ben-Hur” (Miklos Rozsa). You couldn’t find that much compositional talent in Hollywood now if you tried.

We’ll also hear a rare 1938 recording of selections from Erich Wolfgang Korngold’s Academy Award winning music from “The Adventures of Robin Hood,” with Sir Guy of Gisborne himself, Basil Rathbone, the narrator, and Korngold conducting.

And Sir Thomas Beecham will take the podium for award-winning music by Brian Easdale written for the unnerving Powell-Pressburger classic, “The Red Shoes.”

Get ready to steel yourself for the Oscars with relics of bygone quality, this Sunday morning from 7 to 11 EST, on WPRB 103.3 FM and wprb.com. At what point did they call “class dismissed,” wonders Classic Ross Amico?

March 3, 2018
Oscar Scores Webcast Your Movie Music Party

Due to its timely nature, my annual WWFM Oscar Party has been posted as webcast. I can’t promise you it’s the greatest thing ever (I didn’t eat lunch yesterday), but there’s plenty of enjoyable music from 18 films, including all five of this year’s nominees for Best Original Score (“Phantom Thread,” “Dunkirk,” “The Shape of Water,” “Three Billboards Outside Ebbing, Missouri,” and “Star Wars: The Last Jedi”). Get yourself primed for the Oscars with three hours of classic and contemporary film scores. Follow the link, and crunch away.

http://wwfm.org/post/enjoy-picture-perfect-oscar-party-friday-afternoon

March 3, 2018
Movie Music Oscars Special on The Classical Network

“You see, this is my life. It always will be. There’s nothing else. Just us, the cameras, and those wonderful people out there in the dark. All right, Mr. DeMille, I’m ready for my close-up!”

Join me (and Norma Desmond) this Friday afternoon on The Classical Network as we mark the 90th anniversary of the Academy Awards with a SPECIAL THREE-HOUR BROADCAST celebrating the history of music in the movies. Hear selections from all five of this year’s nominees for Best Original Score, alongside music from some of the best-loved and most-honored movies of all time – including “The Godfather,” “Star Wars,” “Titanic,” “The Lord of the Rings,” “Lawrence of Arabia,” “Ben-Hur,” and “Gone with the Wind.”

The music IS big; it’s the PICTURES that got small. The playlist will be positively cinematic, this Friday from 4 to 7 p.m. EST, on WWFM – The Classical Network and wwfm.org.

March 2, 2018
Wild Movie Soundtracks Picture Perfect

This week on “Picture Perfect,” as we put our faith in the groundhog and brace ourselves for six more weeks of winter, we defer to the natural wisdom of the wild kingdom.

We’ll hear selections from John Barry’s music for “Born Free” (1966), based on Joy Adamson’s memoir about the raising of Elsa, an orphaned lion cub who grows to adulthood and is eventually released into the Kenyan wilderness. The music proved a double Academy Award winner for Barry, who was recognized for Best Original Score and Best Original Song.

Jerome Moross, best known for his music to “The Big Country,” had such a strong personality that his immediately recognizable sound extended even to his work on the National Geographic special, “Grizzly!” (1967), a documentary about a pair of ecologists studying North American bears. “Grizzly!” sports an energetic Americana score that is cut very much from the same cloth.

The Korda Brothers’ adaptation of Rudyard Kipling’s “The Jungle Book” (1942) stars the charismatic Indian actor Sabu, as Mowgli, raised by wolves, who yearns to reconnect with his human roots. (For the record, Kipling pronounced “Mowgli” so that the first syllable rhymes with “cow.”) Miklós Rózsa wrote the enchanting score.

And we can’t get through the hour without hearing Henry Mancini’s “Baby Elephant Walk,” from “Hatari!” (1962). So many exclamation points in these wilderness titles! The film was directed by Howard Hawks and starred John Wayne. In case you’re wondering, “Hatari!” is Swahili for “Danger!”

No danger in treating yourself to this cinematic carnival of the animals. We’re going wild this week on “Picture Perfect,” this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

February 2, 2018
Korngold’s Hollywood Composers

Errol Flynn writes a ballet? Charles Boyer composes a tone poem? Claude Rains writes a cello concerto!

This week on “Picture Perfect,” we’ve got three examples from Hollywood’s Golden Age of movies about fictional composers. These, of course, required music allegedly written by the characters, and this was provided by two-time Academy Award-winner Erich Wolfgang Korngold.

Korngold is probably best known to movie buffs as the composer for Flynn swashbucklers such as “The Adventures of Robin Hood” and “The Sea Hawk,” but his filmography is more varied than one might at first suspect. No matter what the subject, Korngold could be counted on to bring that opulent fin de siècle gloss, developed in a Vienna steeped in Mahler and Strauss.

We’ll hear music from “Escape Me Never” (1947), a slightly preposterous melodrama about two composer brothers who become rivals in love; “The Constant Nymph” (1943), about a would-be romantic bond between a composer struggling to find his true voice and an admiring girl on the verge of womanhood who develops deeper feelings for him; and “Deception” (1946), about a cellist reunited with his former love, who had believed him killed during the war, and the vindictive composer who attempts to shatter his psyche through grueling rehearsals of his latest concerto.

“Deception” was Korngold’s last, wholly original score, though he was lured back to Hollywood for one final project, “Magic Fire” (1955), a biopic of the composer Richard Wagner, for which he adapted selections from Wagner’s operas. Furthermore, Korngold makes an appearance onscreen (!) as conductor Hans Richter. The film was subject to heavy cuts prior to its U.S. release and was not a success.

Hollywood seldom gets it right when it comes to portraying the process of the composer, but Korngold, true to his name, did his best to spin gold from corn, producing some appropriately grand utterances, albeit condensed to only a few minutes of screen time. Quite a task for this figure who made his greatest mark in opera.

Join me for these examples of Korngold as ghostwriter, on “Picture Perfect,” this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

Follow the link to hear Korngold improvise on themes from “The Flying Dutchman” (with entertaining stills):

https://www.youtube.com/watch?v=h4bNEw1nu3I

MAGIC FIRE: When the actor who was hired to play Hans Richter failed to show, Korngold was rushed into make-up (hence, the fake beard). This is the only existing footage of Korngold conducting.

January 26, 2018

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