FILM SCORE BLOGS [Blog # 17] Friday was another active film score research day. This Friday-Saturday-Sunday was my long weekend off from work (that occurs every six weeks). So I arranged to have the Helen of Troy (a very H.O.T. score indeed!) materials kept from the previous Friday at USC/Warner Bros. Archives. My wife woke up earlier than usual at 8 am and she drove me at about 8:40 am to the airport to rent the National Car Rental vehicle (silver G6 midsize with the nice XM-radio). The sky was threateningly dark. A storm was coming from the north and west. It didn’t start raining lightly until I reached the 110 Freeway, raining a bit more heavily once I got off Manchester to Figueroa (due to the normal congestion on the freeway at that point). Very near the archives building at the Hoffmann Bldg., I stopped by MacDonald’s to buy a coffee. Then I went up the street about a mile to the main gate of USC where I bought my yellow $6 USC parking pass stamped at 10:04 am. Then I went back south to Exposition (also 37th St), turned left (east) and passed another light (just north of that is the DMV) and went into the Hoffmann facility parking lot. Initially I organized my notes once I sat myself down in the reading room section of three tables (I was the only researcher there that day). Then I started to work on Reel 5/pt 3--the cue/scene when Helen’s deaf-mute slave (was his name Bernardo, by the way?!) kills a guard to help Paris escape. The bassoons play the agitato stealth melody figures for two bars, followed by the alto flute and cued in clarinet. The bassoons return for a bar, and then the strings play spiccato ascending 16th note figures. The cue ends with Paris at the fisherman’s hut. Then I worked at length in the succeeding cue Reel 6/pt 1 when Paris leaves the hut and starts his escape along the beach cliff. It would’ve been more intelligent to hide really well somewhere along the beach and wait there right on the beach instead of climbing up the cliff in a vulnerable position. However, by Bar 58, he encounters lovely Helen again in the A maj (A/C#/E) tonality sustained only by the let ring vibe and the horns on small octave and Line 1 A notes (that soon play an ostinato pattern). In Bar 59, the violins and celeste start to play the melody line. Incidentally, this cue had a good deal of music recorded but not used in the final edit of the movie. Apparently Robert Wise had cut lengthy climbing scenes (or whatever) out. Paris was wearing a silly fisherman’s hat before Bar 54, but it mysteriously was missing by the cut to Bar 54, so perhaps there was a scene where it shows him discarding or losing his hat. I said, “recorded” because I still have an old cassette tape of the music-only recording sessions that somebody gave me many years ago. I suppose that someone had a previous dupe of these sessions that somehow got into the hands of the bootleg Tsunami label because apparently there’s a Helen of Troy cd out by them. I’d like to get it to verify if the music is the same (although Tsunami probably organized the sessions in correct order as per the movie). The “deleted” sections of the cue in the movie are still available to hear in that old recording. At any rate, I spent a fair amount of time on Reel 6/1 because I liked that cue. Then I kept going from folder to folder to folder in proper sequence until towards the end of my stay. Then I skipped to those cues I really wanted to focus on. I did not have time to complete my research, but nearly so. I did not work on Reel 16 cues especially, except for the Finale, but that’s all right—I already have the Conductor sheets (except R6/1) for them (although I prefer the full orchestrations. I told Haden he could put the 33 folders away because the earliest I will be able to return will be in six weeks, and probably I will want to research a completely different score. In fact, if I do research that day, I may go to UCLA or UCSB or ??? I hand-copied so far about forty pages of score. Now: What does this have to do with music, let alone film music? Well, in the May 1929 issue (No. 5) there was a reprint of an informal conversation originally published in The World Tomorrow between Krishnamurti and Leopold Stokowski, the legendary conductor (remember him in Disney’s Fantasia??). He and Bernard Herrmann had a friendship together. Smith’s biography discusses it, and you can see a reproduction of a note from Stokowski to Herrmann dated 2 May 62 in the soft cover book, Bernard Herrmann: Hollywood’s Music-Dramatist by Edward Johnson (see page 15). Stravinsky and Bernard Shaw were admirers of Krishnaurti, as also Aldous Huxley, Pablo Casals, David Bohm (the physicist) and Terence Stamp. The conversation between Krishnamurti (K) and Stokowski (S) occurred I believe in May, 1928 at Castle Eerde, Ommen, Holland. The following is a good amount of the conversation: S: Every art has its medium of expression: the dramatist—stage, actor, lights, costume, decoration in color and form; the sculptor—stone or wood; the poet—words; the painter—canvas and pigment; the musician—air vibration. It seems to me that music is the least material of the arts. I was very impressed by a light-color organ called the Clavilux, invented by Thomas Wilfred of New York. He has developed what seems to me a new art of color in form and motion, and it occurred to me that there are aspects of music that are extremely immaterial, that are almost pure spirit—and that some day an art might develop that would be immaterial, pure spirit. K: Don’t you think that it is not so much a question of comparing one art with another as of the evaluation of the individual who produces that art? With regards to the possibility of evolving an art still more subtle than music, isn’t it the question of inspiration? Inspiration, according to my idea, is keeping intelligence enthusiastically awakened. S: I feel that inspiration is almost like a melody or a rhythm, like music that I hear deep, deep inside me, as if it were a long way off. K: Bcause you are a musician you will hear that intelligence to which you are aware all the time, and will interpret it thru music. A sculptor would express that intelligence in stone. You see my point? What really matters is inspiration. S: But do you think inspiration has much rapport— K: Yes, connection— S: with intelligence? K: In the sense in which I am using it, yes. After all, sir, that is the whole point. If you are not intelligent, you are not a great creator. Therefore…if you keep intelligence awake all the time, it is searching for ideas, for new ways of connecting itself with life. And that is what I call inspiration. You set a new idea because you are keeping your intelligence awakened. S: That is not the sensation I have inside at all. I can describe it this way: When I have an inspiration, it is as if I remember, become conscious of something, which five minutes or ten minutes ago somehow came into my brain. It was there before but had not come into my consciousness. K: I should say that intelligence is working to get this idea. After all, sir, please let us take it concretely: A being without intelligence would not be inspired in the highest sense of the word. S: Not in the highest sense, no. K: I feel inspired when I see a beautiful thing, beautiful scenery, hear beautiful music, or someone recite poetry, because my intelligence is all the time seeking. I am keeping my intelligence awake, and if there is beauty, I want to translate that vision into something which people will understand. S: I have the feeling inside of me that inspiration comes from a higher level than intelligence. K: No. I say intelligence is the highest level….You cannot divide intuition from intelligence in the highest sense…Intuition is the highest point of intelligence. S: Ah, now I feel entirely with you. K: You can only keep alive that intelligence by experience, by being all the time a questioning child. S: It has always seemed to me that art-works should be anonymous. The question in my mind is: Is a poem or picture or symphony the expression of its creator, or is it the medium through which creative forces flow? K: Sir, that is a point in which I am really interested. S: Now, you are a poet and I am a musician. What I am interested in is to compare our sensations when we are creating in our respective mediums. Do you ever feel a total stranger to what you have written? K: Oh, surely. S: I do… and I wake up the next day, and say, Did I write that? That is not like me at all! K: Now I say that is inspiration. That is your intuition, the highest point of your intelligence, acting suddenly. And that is my whole point. If you keep your mind, your emotion, your body in harmony, pure and strong, then that is the highest point of intelligence out of which intuition acts. S: And one can live by that. K: Of course that is only a guide. Now take, for instance, poets, dramatists, musicians, all artists: They should be anonymous, detached from all that they create. I think that is the greatest truth—to be, to give, and be detached from what you give. You see what I mean? After all, the greatest artists of the world, the greatest teachers, would say: ‘Look here. I have got something which, if you really understand it, would forever unfold your intelligence, would act as your intuition. But don’t worship me as an individual—I am not concerned, after all.’ But most artists want their names put under the picture. They want to be admired. They want their degrees and titles. S: Is there a standard or criterion of beauty in art, or does each person find his own beauty to which he responds? The question is related to the question of taste. People are always saying, “this is good taste” and “that is bad taste.” By what authority do they say that? K: I should say by their own experience. Sir, you hear music and I hear music. You hear a whole vast plane of vibration. I hear only that much—but that much fits in with all of your vast plane. S: Yes. It’s a question of personal absorption and experience. So the answer is that it is relative… Now: What is the function of life? K: To express itself… But if we all sat down and asked, “what is the ultimate aim for each of us?” we should say, “freedom and happiness for one and all.” S: What is the highest and ultimate ideal of education? K: Teach the child from the very beginning that its goal is happiness and freedom, and that the manner of attainment is through the harmony of all the bodies-mind, emotions, and the physical body. S: When the child falls bellows that ideal and hurts itself, or somebody else, or destroys beauty of some kind, how would you describe to the child what would be the ideal course of action instead of the destructive course that he has followed? K: Put him into conditions where he will see the ideal by example. Sir, if you are a musician, and I am learning from you, I would watch every movement that you make. After all, you are a master in music, and I want to learn. That is my whole point: the example is lacking. ****************************************************************** [11:23 am] OK. That’s it from that conversation. There was a computer in the Reading Room that offered visitors to use the Dos cd-rom of the complete works of Krishnamurti. In the Search mode, I looked for hits on “music” and “art.” About 90 hits showed up—not very many references in the total works. There are virtually no hits on “astrology.” He did not focus on it in his talks and writings, and apparently nobody ever directly asked him questions about his opinions of astrology. I still searched the Library for articles that relate to music and art in general… [4:20 pm] Just returned from lunch, Farmers Market, Wild Oats, Trader Joes (to buy Lambrusco wine), and Tower Records. What I found revealing at Tower Records today is that many of the Film Score Monthly releases were available (one cd per title). Out of partial whim (and knowledge that eventually I will get a settlement for my bicycle accident), I decided to use my credit card and purchase 12 of the cd’s for $268.33! Most were Rozsa cds: Knights of the Round Table, Diane, Seventh Sin, Word, Flesh, and the Devil; Moonfleet, Tribute To A Bad Man, Green Fire, Julius Caesar, and Plymouth Adventure. I wanted Lust For Life but it was already sold (the identity placard was still there). Also I wanted Ivanhoe and also Valley of the Kings but no luck on those titles. I also purchased Demetrius & the Gladiators (a rousing score by Franz Waxman), Voyage To The Bottom of the Sea (Paul Sawtell & Bert Shefter), and also Goldsmith’s Rio Conchos. I wanted the Goldsmith score because I had xeroxed part of the written score held at UCLA/CBS Collection (at least I believe I have that particular score. I will check my old boxes to find out for sure)….Actually it was Rio Lobo!! Oh, well. I should’ve surmised that after seeing it was a 20 Century Fox release (not the National General of the latter score). The same applies to Bernstein’s Big Jake score. That’s all right. I’ll keep the cd. Now: Let’s give some excerpts from the Aaron Copland essay “Second Thoughts On Hollywood” in Modern Music, Vol 17, March-April 1940. He wrote: “…. By itself the screen is a pretty cold proposition. In Hollywood I looked at long stretches of film before the music had been added, and I got the impression that music is like a small flame out under the screen to help warm it. It is this very function, however, which so often gives the composer a minor role. There is no sense in denying the subordinate position the composer fills. After all, film music makes sense only if it helps the film; no matter how good, distinguished, or successful, the music must be secondary in importance to the story being told on the screen.” Really?? I feel that, in most cases, the music is actually a co-partner to the successful and full emotional conveyance of the story on the screen. The composer is not necessarily subordinate, but he can definitely hurt the film if he is not in synch with it, if he is not a good dramatist musically in portraying the action and mood of the story told. If the composer has a good track record already (Herrmann, Steiner, etc) then it’s important for the director and producer to trust in the composer’s instincts. If some changes need to be noted (as in the case of Wise telling Goldsmith in Star Trek that he didn’t think the first “Enterprise” sea-faring cue really worked well or dramatically, then differences have to be ironed out. I believe Goldsmith initially stormed out in the recording session but later restrained his ego and thought better of the situation—and actually composed a better version of the cue! Sometimes, however, even a good composer’s instincts or final decision is unsatisfactory—for example, when Herrmann opted not to compose a score for The Birds. Also, I listened to XM-Radio in the rental car yesterday and went to Channel 27 Cinemagic and heard Horner’s TROY. I did not like the song he composed. It did not seem to fit. It sounded far more middle eastern/Egyptian at times rather than fitting the Grecian temperament. I don’t know. I have to analyze it more. Moreover, part of his music sounded like the Main Title from that Roland Emmerich film Stargate. I like Horner’s music (especially his earlier scores) but this time it just didn’t fit well, and he repeated past figures in other movies (such as that brassy four-note figure). Copland later wrote: “In retrospect, I can see three important ways in which music helps a picture. The first is by intensifying the emotional impact of any given scene, the second by creating an illusion of continuity, and the third by providing a kind of neutral background music…music behind dialogue…” [Opps. I am missing a page (page 143)]… He wrote in page 144: “A third device, and one very peculiar to Hollywood, is known as ‘Mickey-Mousing’ a film. In this system the music, wherever possible, is made to mimic everything that happens on the screen. An actor can’t lift an eyebrow without the music helping him do it. What is amusing when applied to a Disney fantasy becomes disastrous in its effect upon a straight or serious drama. Max Steiner has a special weakness for this device. In Of Human Bondage he had the unfortunate idea of making his music limp whenever the club-footed hero walked across the scene, with a very obvious and it seemed to me vulgarizing effect.” Of course that is simply Copland’s opinion based of his beliefs and sensibilities he is accustomed to. What Krishnamurti discussed above applies with Copland: that his judgment about Steiner’s use of music is in the framework of a critic stating that a certain type of music is in “bad taste,” but the standard is relative. Anything overdone is understandably detrimental, but the protagonist in that story had an obvious disability, and Steiner mimicked it musically. That’s justifiable. It’s ok, and nothing to be worried about or too critical of. Most film composers used the mimic device or matching the action to the screen—even Herrmann! Example: in Mysterious Island when Michael Callan and Beth Rogan trip in the dark in the giant bee hive area down into a hidden grotto where the Nautilas was docked, the music “mickey-mouses” the respective falls with the falling glissando of the harps. (Perhaps Copland is a better or more sophisticated composer than Steiner, eh??—not as corny as Steiner?? : ) He continues with his “It’s pick-on-Steiner-day” mode of writing:: “Recently Mr. Steiner has shown a fondness for a new device. This is the mixing of realistic music with background music. Joe may be walking around the room quietly humming a tune to himself (realistic use of music). Watch for the moment when Joe steps out into the storm, for it is then that Mr. Steiner pounces upon Joe’s little tune and gives us the works with an orchestra of seventy. The trouble with this procedure is that it stresses not so much the dramatic moment as the ingenuity of the composer…” Well, I’m afraid he wouldn’t have approved of many film composers, including Herrmann. Example: In Journey To the Center of the Earth, Herrmann composes a strings version of the “Red Red Rose” song after Pat Boone sings it on the piano to sweet Jenny. In fact, he writes two or three variations of it in the general scene. It would be interesting to go thru Copland’s film scores and see if he totally practiced what he preached. Incidentally, he even later on criticizes Korngold for being “over-complex in the development of a musical idea.” Enough on Copland. I am not too fond of his “over-complex” criticisms! : ) Actually, the underlying dynamic is simple: he appears to be a snob! Take a chill pill, and try to enjoy diversity and differences (live & let live.) Well, in the full score version by Van Cleave, there is no “voice” indication, nor the dotted half notes tied to half notes. I suppose it was a separate track. Also Van Cleave does not insert the accel poco command in Bar 2, but he does have three piccolos (a separate staff for each piccolo). In the sketch version, the 2nd staff from the top is free of musical notes in Bar 1 but Bar 2, after a dotted 8th rest, has “2 Cl. & Ob.” Playing Line 2 C 16th to C dotted 8th to C 8th figure played twice, etc. Staff 3 in the sketch is indicated in bass clef “I, II, V” [violins and viole] while the 4th or bottom staff is “C” and then “B” underneath (VC-CB). The placements are the same in the full score version except that it wasn’t clearly indicated in the sketch where the CB notes would be placed. In the full score, the CB play small octave Ab tenuto quarter notes three times to four 16ths rinforzando, etc. Moreover, Raksin doesn’t indicate the number of instruments, but probably he did in the sketch for the M.T. (but I don’t know since I don’t have that page). Van Cleave has written 8 violins I, 6 violins II, 4 violas, 4 VC, 2 CB. Also Van Cleave inserts another instrument in the staff line just above the violins I. I believe it’s a guitar but it’s hard to read the writing, and it plays five-note chords. Well, the sketch does indicate a “+G” underneath the I, II, V” staff, as well as “+ hp” [harp). Harps and guitar are shown in the full score version. At the end of Bar 2 in the sketch, Raksin marks under the third staff “+ H.” That is very unclear, but in the full score version the “Harpsichord” is inserted above the harp staves. Also, at the end of Bar 2, the trumpets and Pos now play with the indication of “Mute” bracketed for all of them. Raksin may indicate very vaguely in his shorthand that the brass are playing here, but I cannot see mute or sord anywhere. Overall it looks pretty faithful between the two. Van Cleave does not insert Andantio in the top of Bar 1 or above the first violins. Fortunately I did not have to rely solely on the sketches! If I did, I would have a very difficult time deciphering Raksin’s shorthand indications. I always prefer the full score over the sketch or Conductor versions, although I would like to look at them all. Van Cleave used Pacific Papers 321 (33 staves.) So he had 3 piccolos, oboes, 2 clarinets, bass clarinet, bassoon, 1 horn, 3 trumpets, 3 trombones, tuba, Boo-bams (played by Kraft) Bongoes (played by Sheen, I believe), Marimba (played by Richards), harpsichord, harp, guitar, strings. I have a Conductor version of the Main title page of only three staves. The orchestrator was Sid Feller. The cue used the strings, piano, 3 drums, 2 guitars, 3 Pos, 1 horn. There was also a “Voice.” The cue is set in Cut time in the key signature of Ab maj/F min (four flats.) I also mentioned elsewhere that I researched very lengthy orchestrations for Dimitri Tiokim. Well, I dug one out from, I believe, The Old Man & the Sea. It is page 5 of I think Reel 10/7. The page is about 31 inches in length! There are 47 staves! The top right corner is stenciled “Music by Dimitri Tiomkin.” Starting from the top staff down to the bottom, we have: Flute I **********************************************
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