Classic Ross Amico

Tag: On the Waterfront

Bernstein’s Waterfront A Hollywood Contender

“I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am.”

We’ve all had those kinds of days, haven’t we?

Yet Leonard Bernstein’s score for “On the Waterfront” (1954) was always a contender, even if at times the composer found himself on the ropes.

“On the Waterfront” was the only original film score composed by Bernstein (the screen adaptations of his stage musicals were adapted by other hands). Narrative film, of course, is a collaborative effort, in which music is usually the last to the table and the first to go. Bernstein’s score was edited and dialed down to suit the overall needs of the film.

Unused to such rough treatment, Bernstein found his brush with Hollywood to be dispiriting, to say the least. He arranged his music into a concert suite, over which he had complete control, and the work has gone on to become one of his better-known pieces. That said, what can be heard in the film remains a powerful statement, and one of the great film scores.

The original recordings, as they appear in the film, were long believed to have been lost. However, in the course of restoration of “On the Waterfront” for release on BluRay, it was discovered that audio had been preserved on acetate discs used for playback during the original recording sessions. Material from these were issued for the first time in 2014, on the Intrada label.

Bernstein’s music would be nominated for an Academy Award, one of twelve total nominations for the film. “On the Waterfront” would win in eight categories, including Best Picture, Best Actor (Marlon Brando), and Best Director (Elia Kazan). Bernstein may have lost out to Dimitri Tiomkin for his work on “The High and the Mighty.” However, like Brando’s Terry Malloy, his score to “On the Waterfront” proves itself a champion.

We’ll hear selections, alongside some of Aaron Copland’s music for “The Red Pony” (1949), once again, from the film’s original elements; dances from the only film score ever to be awarded the Pulitzer Prize for Music, “Louisiana Story” (1948), by Virgil Thomson; and the music that lends “Picture Perfect” its signature tune, “They Came to Cordura” (1959), by Elie Siegmeister.

It’s an hour of New York composers in Hollywood 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 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/

August 29, 2025
Bernstein’s Waterfront A Hollywood Contender

“I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am.”

We’ve all had those kinds of days, haven’t we?

Yet Leonard Bernstein’s score for “On the Waterfront” (1954) was always a contender, even if at times the composer found himself on the ropes.

“On the Waterfront” was the only original film score composed by Bernstein (the screen adaptations of his stage musicals were adapted by other hands). Narrative film, of course, is a collaborative effort, in which music is usually the last to the table and the first to go. Bernstein’s score was edited and dialed down to suit the overall needs of the film.

Unused to such rough treatment, Bernstein found his brush with Hollywood to be dispiriting, to say the least. He arranged his music into a concert suite, over which he had complete control, and the work has gone on to become one of his better-known pieces. That said, what can be heard in the film remains a powerful statement, and one of the great film scores.

The original recordings, as they appear in the film, were long believed to have been lost. However, in the course of restoration of “On the Waterfront” for release on BluRay, it was discovered that audio had been preserved on acetate discs used for playback during the original recording sessions. Material from these were issued for the first time in 2014, on the Intrada label.

Bernstein’s music would be nominated for an Academy Award, one of “On the Waterfront”s twelve nominations. The film would be recognized with wins in eight categories, including Best Picture, Best Actor (Marlon Brando), and Best Director (Elia Kazan). Bernstein may have lost out to Dimitri Tiomkin for his work on “The High and the Mighty.” However, like Brando’s Terry Malloy, his score to “On the Waterfront” proves itself a champion.

We’ll hear selections, alongside some of Aaron Copland’s music for “The Red Pony” (1949), once again, from the film’s original elements; dances from the only film score ever to be awarded the Pulitzer Prize for Music, “Louisiana Story” (1948), by Virgil Thomson; and the music that lends “Picture Perfect” its signature tune, “They Came to Cordura” (1959), by Elie Siegmeister.

It’s an hour of New York composers in Hollywood this week, on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

September 3, 2022
On the Waterfront Labor Day Classical

Johnny Friendly is running this racket. So “Picture Perfect” has been moved to Saturday at 6 pm, see?

It will be an all-American program for Labor Day weekend, including Leonard Bernstein’s music for “On the Waterfront” (1954) – Elia Kazan’s exposé of sleazy underworld corruption along the docks of Hoboken – alongside selections from Aaron Copland’s “The Red Pony” (1949), Virgil Thomson’s “Louisiana Story” (1948), and Elie Siegmeister’s “They Came to Cordura” (1959).

Both the Bernstein and Copland are rare documents taken from the films’ original recording sessions. Thomson’s “Louisiana Story” is the only film score ever to have been awarded a Pulitzer Prize. And Siegmeister’s “They Came to Cordura” is the source of “Picture Perfect”s striking theme music.

Following tonight’s broadcast, stick around for Rachel Katz’s “A Tempo” at 7:00. Her guest this week will be none other than Patrick Stewart, who will talk about his recent film, “Coda” (in which he plays a classical pianist), and the transformative power of the arts.

I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am.

I ain’t no canary, but this new time slot, Saturday at 6 pm EDT, is for the birds – literally – on WWFM – The Classical Network and wwfm.org.

September 5, 2020
Bernstein’s Waterfront: A Lost Score Found

I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am. “Picture Perfect” has been moved to a new time, SATURDAY AT 6 PM.

This Labor Day weekend, hear original cues for “On the Waterfront” (1954). “On the Waterfront” was the only original film score by Leonard Bernstein. (The screen adaptations of his stage musicals were done by other hands.) Narrative film, of course, is a collaborative effort, in which music is usually the last to the table and the first to go. Bernstein’s score was edited and dialed down to suit the overall needs of the film.

Unused to such rough treatment, Bernstein found his brush with Hollywood to be dispiriting, to say the least. He arranged his music into a concert suite, over which he had complete control, and the work has gone on to become one of his better-known pieces. That said, what can be heard in the film remains a powerful statement, and one of the great film scores.

The original recordings, as they appear in the film, were long believed to have been lost. However, in the course of restoration of “On the Waterfront” for its release on BluRay, it was discovered that audio had been preserved on acetate discs used for playback during the original recording sessions. Material from these were issued for the first time in 2014, on the Intrada label.

Bernstein’s music would be nominated for an Academy Award, one of “On the Waterfront”s twelve total nominations. The film would be recognized with wins in eight categories, including Best Picture, Best Actor (Marlon Brando), and Best Director (Elia Kazan). Bernstein may have lost out to Dimitri Tiomkin for his work on “The High and the Mighty.” However, like Brando’s Terry Malloy, his score to “On the Waterfront” proves itself a champion.

We’ll hear selections, alongside Aaron Copland’s original recordings for “The Red Pony” (1949), some dances from Virgil Thomson’s “Louisiana Story” (1948) – so far, the only film score to be awarded the Pulitzer Prize for Music – and Elie Siegmeister’s “They Came to Cordura” (1959), which provides the now-familiar “Picture Perfect” signature tune.

You may want to swear like a longshoreman, but do consider joining me at my new time – New York composers go to Hollywood on “Picture Perfect,” music for the movies – this SATURDAY EVENING AT 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

REMEMBER, if this time doesn’t work for you, shows are archived at the station website shortly after broadcast. Select a show, click on “listen,” and enjoy!

https://www.wwfm.org/programs/picture-perfect-ross-amico

September 4, 2020
Bernstein’s Waterfront A Champion Score

“I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am.”

We’ve all had those kinds of days, haven’t we?

Yet Leonard Bernstein’s score for “On the Waterfront” (1954) was always a contender, even if at times the composer found himself on the ropes.

“On the Waterfront” was the only original film score composed by Bernstein (the screen adaptations of his stage musicals were adapted by other hands). Narrative film, of course, is a collaborative effort, in which music is usually the last to the table and the first to go. Bernstein’s score was edited and dialed down to suit the overall needs of the film.

Unused to such rough treatment, Bernstein found his brush with Hollywood to be dispiriting, to say the least. He arranged his music into a concert suite, over which he had complete control, and the work has gone on to become one of his better-known pieces. That said, what can be heard in the film remains a powerful statement, and one of the great film scores.

The original recordings, as they appear in the film, were long believed to have been lost. However, in the course of restoration of “On the Waterfront” for release on BluRay, it was discovered that audio had been preserved on acetate discs used for playback during the original recording sessions. Material from these were issued for the first time in 2014, on the Intrada label.

Bernstein’s music would be nominated for an Academy Award, one of “On the Waterfront”s twelve nominations. The film would be recognized with wins in eight categories, including Best Picture, Best Actor (Marlon Brando), and Best Director (Elia Kazan). Bernstein may have lost out to Dimitri Tiomkin for his work on “The High and the Mighty.” However, like Brando’s Terry Malloy, his score to “On the Waterfront” proves itself a champion.

We’ll hear selections, alongside some of Aaron Copland’s music for “The Red Pony” (1949), once again, from the film’s original elements; dances from the only film score ever to be awarded the Pulitzer Prize for Music, “Louisiana Story” (1948), by Virgil Thomson; and the music that lends “Picture Perfect” its signature tune, “They Came to Cordura” (1959), by Elie Siegmeister.

New York composers visit Hollywood this week, as we celebrate the centennial of the birth of Leonard Bernstein, on “Picture Perfect,” music for the movies. This Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

Tune in to The Classical Network all day today and tomorrow for more great music and recordings in honor of Bernstein at 100!

August 24, 2018

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