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FILM SCORE BLOG [Blog # 21] Just finished my latest Film Score Rundown (the Bruns adaptation of Disney’s Sleeping Beauty). It’s only 27 pages, far less than my North By Northwest rundown I completed last month, but the constant cross-referencing of the score to the ballet music was a bit time-consuming. I had to accurately match up the music quotations in the Disney animated feature with the ballet counterparts. Bruns did quite an excellent job! In many instances, his fuller orchestral treatment of various pieces improved the overall sound and interest in the music. A bonus treat was hearing an alternate Bruns adaptation of a scene/cue in the feature. This bonus is in the bonus (2nd) dvd of the Sleeping Beauty Special Collector's Set in the selection, “Four Artists Paint One Tree.” It featured an earlier rendition of both the “Treat Me Like A Child” (Reel 4-B) and “Walk Together” (Reel 4-C) cues. It’s relatively rare to hear alternate cues by composers. A famous and distinctive example was the “Enterprise” cue in Star Trek: The Motion Picture, and even more differently in character the “Spock’s Arrival” cue. It’s been about four months since my last blog. I was busy but not busy with new film music research. However, I spent free time writing exclusive film score rundowns for the new Colonne Sonore institute born in Caen (Normandy), France. The President is Mr. Jacky Dupont. He contacted me at the end of March wondering if I would contribute to proposed collaborative book: Colonne Sonore Encyclopaedia # 1: BERNARD HERRMANN. I agreed to write three papers. Here is the preliminary summary of the contributors. SOMMAIRE Part 1. Portrait of Bernie Part 2. Premières mesures (1940-1942) Part 3. Les années Fox (1944-1961) Part 4. L_Accord Parfait (1955-1964) Part 5. L_Odyssée fantastique (1958-1963) Part 6. Ombres et lumières (1966-1975) Part 7. Complétude Part 8. Herrmann_s Guide Part 9 -Points de vue par Douglass Fake, Baudime Jam, Lukas Kendall, Lalo Schifrin, Rolf Kent, Luc Van De Ven... The release is meant to coincide with Herrmann’s 30th anniversary of his death. My donated papers (and of the other English-speaking writers) will remain in print as English. I was expecting to get to proof read their print copy at the end of June, but so far I have not heard word—even though I e-mailed my new e-mail account over a week ago. I noticed that Royal Brown has written a paper for them on Herrmann & Brian De Palma. It will be interesting to read it. He is noted for his claim about the “Hitchcock Chord” (the tonality of the “irrational” or minMaj 7th) in Chapter Six of “Overtones and Undertones.” He’s a fine writer, although I do not necessarily agree with that claim about the “Hitchcock Chord.” In my rundown analysis of The Trouble With Harry, I showed how the minMaj 7th was not particularly important in the score, amounting to about one-tenth of one percent of the tonalities in the total score. Its first instance in fact was not until the 6th reel in “Burial” in Bar 9. As he correctly stated, however, it is actually more important in Psycho (the “Prelude”). Of course that score is so overwhelmingly atonal or non-tonal (based on one of his Early Works when he was experimenting with such sounds) that only a few cues had a strongly standard tonal bent (including the “Prelude”). I do not know if there is indeed a characteristic “Hitchcock Chord,” but I do know that Herrmann’s favorite (most employed) overall seventh chord was the half-diminished 7th, a seventh chord that may be a bit less disorienting or dissonant than the minMaj 7th, say. On Wednesday, April 13th, I had a visitor from Christ Church in Great Britain, a scholar named Ben. He came to do research at USC/Warner Bros. Archives on Korngold’s The Adventures of Robin Hood. He stayed overnight. He never saw that Korngold dvd The Adventures of a Wunderkind so I put it in my old Sony player for him to enjoy. I remember a lady named Sonja from Germany back in late November who needed help regarding her own research of Korngold scores. Korngold is a popular film composer for researchers and scholarly writers. Next week I’ll have another visitor, a musicology professor from the Mid-West whose specialty is film music, and she’s especially interested in opera quotations. [7:30 pm. My wife has to use the computer, so I’ll continue this blog tomorrow] [Sunday at 9:40 am] After taking care of the litter box chore (it’s a dirty job but somebody’s got to do it!), I made coffee and sat down in front of the computer and surfed Google Images to see what Sleeping Beauty images were attractive as potential candidates to send to my web designer for her to pick. I really liked the loving work done by Shannon in her Sleeping Beauty site I found this morning: http://www.medievalcottage.com/sbvintage.html Speaking of my computer, it became infected with the sasser worm that can simply enter thru an online connection (no need to actually open a file). My computer started to shut down almost indiscriminately several times a day. So I had to have installed the “Service Pack 2” for my Windows XO Pro 2002 version that automatically patches that hole. It cost $150. That meant I had to reload software once again, including Solar Fire, the newest (2005) Norton Antivirus, and I purchased the new Netscape 8.0 Browser with handbook. I also got rid my two e-mail accounts, including “filmscorerundowns@pavenet.net.” I was starting to get a lot of attempts to infect my computer with virus-infected files thru that account. I changed it for a slightly altered version (one without the“s”): filmscorerundown@pavenet.net. (6:11 pm Sunday) As customary for Sundays, my wife & I went out for lunch at noon, then visited the local Farmer’s Market, went to Wild Oats, Trader Joes, Albertsons, and so forth. My wife used the computer until now, mainly doing eBay business and pleasure. I haven’t checked out eBay in a very long time to see if there is anything of interest re: Bernard Herrmann items, Max Steiner items, and other film score-related miscellaneous things (besides cds). You sometimes see interesting finds on eBay! Besides rare cds, you may occasionally find written film scores (usually adaptations/re-orchestrations). Now: Last evening AMC (cable tv) had the premiere showing of John Wayne’s Island In The Sky (not seen for over 20 years). It was okay but I don’t think I would want to buy the dvd when it’s released in a few weeks. The score by Friedhofer is fine but, once again, it’s not motivating me to buy the dvd. Tonight, however, on AMC will be the premiere of Wayne’s The High & The Mighty. I will definitely watch that tonight and record it, although (1) I dislike the commercials on AMC, and (2) I will purchase the dvd with the bonus features anyway. Of course the music is by Dimitri Tiomkin who won an Oscar for the score. I just turned on AMC as I write and see that Island In The Sky is showing again. Frank, the co-pilot, just died in the blizzard, ironically right next to the plane. I am curious to see what the dvd producers offer for the music section of the bonus disc of High & the Mighty. I know that there will be a featurette titled, "The Music And World Of Dimitri Tiomkin.” I believe I mentioned on a previous blog how at Warner Bros. Archives I met one of the producers and praised his intention to do a segment on the music. I offered my services if he needed any help, and also referenced another film music researcher whom I was associated with. I won’t mention that researcher’s name because apparently that producer never followed up. I had expressed my ideal wish that on the dvd there would be a special commentary track (at least in sections) on the music alone. I actually recommended that this other film music researcher/scholar be picked. I also asked for the direct phone number to the Wayne estate to see if the full score was being held there (it’s not available at Warner Brothers Archives). It has to be somewhere and I figured that perhaps the Wayne estate had it somehow. At any rate, I did indeed study the Conductor score available at the archive. Some of the Parts were there as well, and I managed to reconstruct a tiny section of the Main Title (cue #36114) and also Reel 3/1 at the end of September of 2004. There were no cue titles except for “Main Title,” the jubilant “Giubilo” of R18/2 (sketch only, and bad hand-writing at that!). The sketch of the Main title was only four staves, incredibly. The full score (from the Parts) had 2 flutes, piccolo, 3 clarinets, bass clarinet, bassoon, C. fag., 6 horns, 4 trumpets, 4 trombones, tuba, novachord, 2 harps, 2 pianos, 2 timps., gong, cymbal, chimes, 10 violins A, 6 violins B, 4 violins C, 6 violas, 6 celli, and 3 CB (I may’ve missed some percussion). The Main Title was 53 bars in length. The violins/violas/flutes/piccolo/oboe start of the cue forte (that is, after an initial quarter rest) a “7” septuplet run of 16th notes Line 2 (Line 1 for violas) E-F-G-A-Bb-B-Line 3 C to D-C rinforzando normal value 16ths (followed by an 8th and quarter rest). Trumpets play Line 2 C double-dotted rinforzando quarter note to same C rinforzando 16th to D rinforzando 16th to C rinforzando dotted 8th tied to quarter note to (Bar 2) C rinforzando dotted 8th to C 16th to next three-note figure of C 16th down to A 8th to C 16th to D rinforzando half note. Etc. At the end of Bar 4, the high woodwinds and strings play two “6” sextuplet 16th note figures that usher in the famous Main title “High & the Mighty” theme in Bar 5 set in the key signature of F major (one flat). The violins play descending tenuto quarter notes Line 2 F/A/Line 3 C to C/F/A to C/D/G to A/Line 2 C/F to (Bar 6) A/C/E quarter notes legato and crescendo hairpin up to Line 2 E/A/C half notes down to A/C/F to A/C/E tenuto 8th notes. Etc. The cymbal crashes an x-headed quarter note in Bar 5, and the gong is trem a whole note, and the timp if rolled on Great octave F whole note to (Bar 6) A whole note roll. The harps play arpeggiando quarter note chords, etc. Just as famous is the “Plane” theme as majestically played in Reel 3/1 (cue #36118) set in the key signature of Ab maj (4 flats). Violins play in Bar 10 ff Line 1 Ab/Line 2 C/Eb quarter notes legato up to C/Eb/F quarter notes to C/Eb/Ab to Eb/Ab/Line 3 C quarter notes to (Bar 11) Ab/C/Eb rinforzando quarter notes legato down to Eb/Ab/C quarter notes down to C/Eb/Ab quarter notes legato up to Eb Eb/G quarter notes (for violins B/C) and also Bb-C 8ths (for violins A). Etc. I can imagine if Tiomkin did Island In The Sky. He would’ve greatly improved the dynamism and excitement of this B- movie. Friedhofer crafted a good score, competent and even inspirational at times, but I prefer the over-the-top character of Tiomkin’s style! Of course I would’ve liked to have Steiner do Island in the Sky but am glad Tiomkin was chosen for High & the Mighty—although I would’ve been immensely interested in hearing a Steiner score! Steiner’s music resonates more for me than Tiomkin’s in most cases, but I suppose one needs to take individual scores to account. The movie just started…..Nice Technicolor….It’s so funny that Robert Stack would do a parody of this film (and other airplane disaster movies) in the hilarious comedy, Airplane!. While High & the Mighty does not soar (except for the score) as a movie, it’s nice, steady automatic-pilot entertainment… As I continue watching the movie, I notice there’s a bit too much padding attached to the script before the ”action” finally starts about an hour into the movie. One long and unnecessary scene was that “Rossini” sequence (Rossini music being incessantly played in Reel 6) when the man discusses with another man his experiences with his wife in the blue dress. That whole scene could’ve been cut. The scene when the passengers and crew are throwing out luggage and other excess weight from the plane makes me shake my head with a smile when I hear the Tiomkin music that accompanies it. I mean, talk about “over board” (besides the luggage)! The scene probably merits a 2 or 3 in the excitement meter in a scale of 10, but Tiomkin writes 9 or 10 scale music for it! I don’t know the cue location yet. The fire scene was Reel 8/2. The luggage scene is best described as a low excitement or low suspense mood, and I would’ve expected more an incessant or building string/pizzicato motion with low to medium woodwind registers involved—but certainly not piercing trumpets and blaring horns! Don’t get me wrong: I like the music, but I don’t think it best fits the scene and its mood. Herrmann would’ve done a far better job here, but Herrmann probably wouldn’t have written such a rousing “Plane” theme or memorable “High & the Mighty” theme. Sometimes I think Tiomkin was too flamboyant for his own good. His talent and spontaneity is remarkable, but sometimes I feel (IMHO) he did not give much “thought” to the music in order to make it best fit the scene. He was not consistently disciplined in this regard. He let his passion and spontaneity take over. Herrmann was more disciplined and controlled, and had a better “head” combined with his dramatic/emotional instincts or “feel” of the scene. Of course, Tiomkin’s style was basically quite different in character and even technique than Herrmann’s. Tiomkin’s style was more in line with Steiner, Korngold, and other composers who wrote music in a rather “mickey-mouse” fashion (following the action on the screen and accordingly synchronizing the music to it). Herrmann’s approach was far more “mood-making” in the sense of catching the overall mood with his music-writing technique. Alfred Newman was more like Herrmann in approach, but Newman differed (in part) by his tendency to overly toast his music with schmaltzy strings. David Rose of Bonanza fame had the same technique of overly warm (“put on the grease”!) strings style, somewhat overly lush and a bit too sentimental in its richness. Newman was more refined in that approach. Each composer conveys emotion in their own characteristic manner. Steiner preferred to express emotion or mood on the screen with melodies instead of, say, a more lyrical approach by Herrmann’s or a series of descending parallel sevenths! Herrmann liked those “long” and often slow chords for mood when a strongly dramatic scene happened, and he loved to embellish the mood with interesting instrumental colors and variations. Rozsa liked a rather contrapuntal treatment (Steiner did too in his earlier and middle years). Newman differed from Herrmann too by being more polyphonic in his music (counterpoint movement, counter melodies.) Tiomkin had that spontaneous, playful, exaggerated approach to his music-making. He was kind of self-exhibitionistic in that sense. Herrmann was not excessive in those terms (except perhaps in his outrageous statements in public!) Herrmann was more impressionistic in the sense that he sought to create a mood or “atmosphere” with his music. Call it “romantic impressionism” if you wish. It’s difficult to precisely and fairly characterize anybody’s music. But Herrmann’s music was not luminescent and ever changing and hard-to-pin-down like Debussy, say. Besides, Debussy’s music was nearly atonal anyway. Herrmann had more form and logic and consistency. His music was “restrained passion” in most cases, not the passionate leaps of emotion in the late Romantic vein that Korngold employed. Once again, each composer has his own characteristic kind of organization, choosing structures or styles that suit their personalities and artistic bent. In certain terms, Herrmann’s music was far more integrated than his personal life. Rozsa, on the other hand, appeared to display both an integrated personal/outer life as well as a consistent and integrated musical expression. Now: Back to High & The Mighty, the scene when the blonde-headed young man and his redheaded newlywed wife are comforting each other in their seats is hilarious. If you didn’t have the dialog on, you would think they were passionately making out in front of everybody! I mean that would’ve been funny in Airplane! : Having a newlywed young couple kissing and otherwise making out non-stop in the beginning (before they boarded the plane), quarter-way thru (before the trouble in the plane happens), past midway (when passengers thought they would eventually hit the Pacific Ocean), and ending (when everybody was supposed to evacuate the plane)! It’s nice seeing Paul Drake (eh, William Hopper) in a flashback scene. Too bad James Arness wasn’t included in the cast. He was probably busy at the time battling Them! I’d give this movie a B rating (not a B +) or a three out of five stars. It’s a little too syrupy in the script and the over-acting or melodrama. Of course, compared to the slop that comes out of Hollywood these days (in most cases), it’s an A+ and a five-star classic! Overall the score would rate accordingly (in comparison). It deserved the Oscar, although I preferred other Tiomkin scores such as Old Man & The Sea, The Command (written the same year in 1954 as High & the Mighty), perhaps The Thing, and Fall of the Roman Empire. (10:39 pm) My wife is watching the movie with me. She has a different feeling about it compared to what she recollected seeing on the big screen. She thought it would be “more intense” than it is now (as she’s experiencing it in her present state of mind). She says, “it seems different” than when she saw it the first time. To me it’s not as different because I’ve been listening to audio tracks of the score many times in my research, and I saw a bad print of the movie on video several years ago from Brandts at North Hollywood. I don’t believe I ever saw it on the big screen in glorious stereo. I think too much mystique was built into the movie due to its absence of availability these many years. The Giubilo music at the end of the movie (when the relieved passengers disembark) is appropriate. The scene predates that Steven Spielberg characteristic in most of his movies (a “happy ending” predilection). All’s well that end’s well, and Tiomkin “joyfully” (con giubilo) writes almost religiously jubilant music. [resume Monday, July 18 at 9 pm] I checked out there new film music blogs (very few of them exist out there): None of them are film score research sites, however. Basically they are simply film music commentaries and news data. One valuable tip from the 3rd site listed above was the announcement of the official Dimitri Tiomkin website: www.dimitritiomkin.com It answered my query above about what that music featurette would be like. Quoting: “Disc one contains the film, with an introduction by Leonard Maltin and commentary by Maltin, William Wellman Jr., and others. Disc two includes many special featurettes, including "The Music and World of Dimitri Tiomkin." Argentinian-born editor Sergio Palermo produced and assembled this 16-minute film for Sparkhill Productions, a DVD content production studio located in Burbank, California, profiling Tiomkin and his score. Olivia Tiomkin Douglas provided rare photographs from the Tiomkin estate and appears in the film. Composer Christopher Young, orchestrator Patrick Russ, conductor Richard Kaufman, and writer/historian Jon Burlingame are all featured in on-camera interviews. They provide professional commentary and personal insights on the man and his music. The interviews, filmed in the Santa Monica office of the late Elmer Bernstein–a composer who thought highly of Tiomkin's work–are interspersed with film clips, with music from the original motion picture soundtrack.” This is fine, although I would’ve preferred an in depth commentary of the score, as I suggested to Sergio. Still this 16 minute special feature should in itself be worth the price of the dvd, or at least entice film music admirers to buy the dvd (if not just for the restored movie itself!). It will be an excellent, permanent addition to one’s dvd collection. When the dvd comes out August 2nd, I will probably review it in my next blog (Blog #22). [resumed Tuesday at 9 pm] In analogy, just as I preferred the old Fox and Warner Bros. sound far better than the Paramount, Columbia, and (to some extent) MGM, I prefer the “sound” of Herrmann and Steiner and Korngold over Friedhofer, Raksin, Newman, North, and others. All were excellent, however, and all gave their best with integrity. But the soul of Herrmann’s music and Steiner’s music resonates with my own soul far more decidedly than the others. [resume Sunday, July 24 at 7:27 pm] I showed her written scores I had out that she might be interested in looking at, and played audio examples to hear as she read. She wanted to know what I composed for The Birds and so I played the clips with the dvd of the movie playing, and we discussed our views on how music should or should not be presented in a film. She agreed that the total absence of music in The Birds was unsatisfying, but nevertheless seems to hold the view that less-is-more in many cases. Eventually I put on the dvd the original Star Trek:TMP and played clips of the “official” version of some clues and then played clips of music originally composed and recorded but later rejected for the second versions. It was an interesting audio-visual exercise, a technique that could be used in one of her future, probable classes. In one alternate cue, upon hearing it the first time against the official version, she didn’t think there was much of a difference. I found that interesting because I automatically heard a big difference upon first hearing. The character of the two pieces of music were indeed different. The phenomenon of personal perception is involved (each person perceives differently and uniquely) as well as the need to listen and compare more than once (hopefully with alert discrimination). For example, in most cases, you really need to re-listen to the music of a score you never heard before (such as upon watching a new movie release). First impressions are not necessarily the best impressions! It’s important to test (reality-check) your initial perceptions. In a sense, call it the scientific method. Moreover, this exercise demonstrates how the composer himself may or may not “catch” himself or catch the music objectively to see if it “fits” the scene appropriately. In Goldsmith’s case, he did not clearly perceive how one cue (the “Enterprise” cue when Kirk is shuttled by Scotty to the docked Enterprise) was not really that adequate for the filmed sequence. It took Robert Wise, the director, to point it out to him. Goldsmith objected emotionally because, after all, this was his baby and my baby is perfectly good as it is! This is not what he said of course but it’s the general reaction: how dare you reject my vision! But, if you hear the new or second version, then you hear how it is a definite improvement for that scene and mood. In another cue, apparently Goldsmith did not need a director’s prompting. Goldsmith himself determined how the character of the music did not really fit the scene and subsequently wrote an alternate version that became the official version. I am speaking here of the “Spock’s Arrival” cue. I studied the cues at the Margaret Herrick Library. Soon afterward my guest was curious about her astrology chart. She did not have a verified time of birth (say, from a birth certificate) but mother’s memory seemed adequate (for now). I opened Solar Fire 5 to construct her tentative chart and discussed various points for well over an hour. The time went very fast. I always learn when I do a person’s chart, and I found it interesting how her progressed Sun many years ago had conjunct her natal Venus. Up to that point, she was in another field. However, when the progressed Sun on Venus occurred, this was the period when she dramatically got involved in a new field—her real love (Sun) and pleasure (Venus)—music! It was a period of gain, and of course Venus is often associated with the arts. Her growth goal (Sun) was now in the pursuit of creative pleasure (music.) Now: Life is not preordained or laid out in precise order in one’s life. However, I believe that overall “themes” of the life are built in, and certain periods (as shown by an accurate chart) can showed the timing for opportunities of soul growth, of actualizing one’s inner potential. Events are not predestined. There can be any of many details or ways how a principle can manifest. One cannot guess the details of a life, but a framework of significances, a focus on themes, can be seen. The progressed Sun can show the activation or creative drive to “objectify” or materialize a latent inner plan set up by the entity. In this case, the Sun on Venus symbolized the timing when a new series of probable events and conditions can flow (if chosen.) It becomes a “turning point” for the personality. But if not chosen, then another set of probabilities flow the decisions made, and a new focus of development. If she had not pursued the music field as the “official” version of her reality, then another offshoot personality would’ve taken dominance (say, a continuing and deepening pursuit in the business field.) In a sense, it would’ve been a probable self that had taken “a different road.” So progressions show the timing when you must face issues, when you are to unfold a facet of your character and take that further step in your probable development. Progressions do not show what we will DO with our evolving character. We have the freedom and power to create what we concentrate upon. My wife will be having her progressed Sun entering the sign of Aquarius in the 7th house on Sept 17 of this year. Then progressed mercury enters Aquarius a year later, and then progressed Moon. Progressed Moon will then conjunct progressed Sun (a New Moon), a whole new chapter in her life starting! I am very curious to see how her life will unfold starting this fall. For myself, progressed MC (Midheaven) started the one-degree orb conjunction to progressed Saturn on April 22 this year, exact June 29 next year, leaving end of August 2007. Looks like more work, continuing my projects, being conscientious and responsible. Not exactly a “fun” period! When MC conjunct natal Saturn 5 years ago, this was when I purchased our home. Saturn rules the Capricorn ruling my 4th house. Change of status (MC) with the home (Saturn ruling the 4th), but also a general change of status in the world with MC on Saturn. Sometimes it can involve a change of status with the career/vocation, but that was not the detail in my case. Or a change in the job/career. Or a lesson involved. Etc. It would be fascinating and valuable to have the verified birth data of composers such as Herrmann, Steiner, Goldsmith (etc). I managed to obtain the rectified chart of Herrmann and wrote a lengthy online paper on it a few years back. I believe, in a general chart scheme, Max Steiner died when progressed Sun was conjunct progressed Saturn 10 degrees Leo. If he was born around 1 pm (May 10, 1888, Vienna), then progressed Moon was conjunct Pluto at 5 degrees. If he were born around 7 am, then progressed Moon (also now ruling his Cancer rising) would be conjunct progressed Neptune at 2 Gemini opposite natal Jupiter in Sagittarius. Normally one sees Jupiter aspects for death (a welcome release from this world!). Interesting natal chart: Career in the entertainment field (Saturn in Leo), great artistic/pleasure focus (Taurus stellium, including Venus in Taurus), incredible sharp and agile creative mind (Sun conjunct Mercury in Taurus); independent and innovatively creative identity and will with Mars conjunct Uranus; etc. A very decisive character with that Mars-Uranus! Strong freedom urge, quite creative, a risk-taker! Quick temper potential. Great flashes of insight. I often see Uranus aspects for great composers, but the general artistic/aesthetic “Letters” in astrology are 2-7-12 (Taurus-Libra-Pisces, Venus, Neptune.) [9:53 pm] Ok. I think I will close this blog session for the evening, and I bid the reader goodnight! If this is morning or afternoon for you, then you will understand! I believe I will also end Blog #21. There will be a Blog # 22 but probably not in the near future. I have not decided yet what “rundown” project I will do next. Since I just finished talking about Max Steiner, perhaps doing his score for The Caine Mutiny will be an excellent candidate. After all, I did exhaustive research on the score, a dvd of the movie is available (for an audio reference), and I like the score!
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