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Film Music (slightly OT)


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Author Topic: Film Music (slightly OT)  (Read 1724 times)
albert
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« Reply #15 on: January 08, 2013, 12:39:34 pm »

I have to further list ar least
Richard Rodney Bennett Murder on the Orient Express, Four Weddings and a Funeral
Elmer Bernstei The Magnificent Seven, The Great Escape
As we have listed several "serious" or "classical" composers we could/should indicate also movie music by Prokofiev, Sciostakovich, Copland, V.Thomson, Walton,Vaughan Williams, Bliss, L.Bernstein, Honegger, Auric, Ibert, Pizzetti, Malipiero, Petrassi, Schnittke, Kancheli? 
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guest54
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« Reply #16 on: January 08, 2013, 02:59:56 pm »

Marcel Landowski wrote a good deal - but I don't remember having seen any of these films so cannot make any recommendations; perhaps others have. The directors' names are in parentheses:

Etoiles de demain (R.G. Grand), 1942;
Trente jours au-dessus des nuages (Chanas), 1942;
Les beaux jours du Roi Murat (T. Pathé), 1946;
Mandrin (R. Jayet), 1947;
La femme sans passé (H. Calef), 1948;
Gigi (J. Audry), 1948;
Lyonnière, terre captive (Zimbacca), 1948;
La Norvège sous les Vikings, 1948;
Premier prix du conservatoire (Grand), 1948;
Le secret de Monte-Cristo (A. Valentin), 1948;
Sombre dimanche (Audry), 1948;
Square du Temple (Zimbacca), 1948;
Agnès de rien (P. Billon), 1949;
L'homme aux mains d'argile (L. Mathot), 1949;
La lanterne des morts (J. de Casembroot), 1949;
Chéri (Audry), 1950;
La rue sans loi (M. Gibaud), 1950;
Jocelyn (de Casembroot), 1951;
Maria du bout du monde (J. Stelli), 1951;
Art Rhénan (M. Gibeau), 1952;
La vie de Jésus (Gibeau), 1952;
La millième fenêtre (R. Menegoz), 1959;
Bonaparte (J. Vidal), 1962

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kyjo
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« Reply #17 on: January 08, 2013, 08:02:34 pm »

Many thanks, Roelof, Alberto and Sydney for your recommendations Smiley

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guest54
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« Reply #18 on: January 10, 2013, 05:05:05 am »

Quite a few from Maurice Thiriet (1906 to 1972) too, many of them famous:

Il était une fois (dir. L. Perret), 1933
Adrienne Lecouvreur (dir. M. L’Herbier), 1938
The Wolf of the Malveneurs, dir. G. Radot, 1942
La nuit fantastique (dir. L’Herbier), 1942
Les visiteurs du soir, collab. J. Cosma (dir. M. Carné), 1942
Les enfants du paradis, collab. Cosma (dir. Carné), 1945
L’homme au chapeau rond (dir. P. Billon), 1946
L’idiot (dir. G. Lampin), 1946
Une si jolie petite plage (dir. Y. Allégret), 1949
Portrait d’un assassin (dir. Bernard-Roland), 1950
Fanfan la tulipe (dir. Christian-Jaque), 1951
Thérèse Raquin (dir. Carné), 1953
Lucrèce Borgia (dir. Christian-Jaque), 1953
L’air de Paris (dir. Carné), 1954
Crime et châtiment (dir. Lampin), 1956
La tour, prends garde! (dir. Lampin), 1957
Les grandes familles (dir. D. de la Patellière), 1958
Bernadette de Lourdes (dir. R. Darène), 1960
Il suffit d’aimer (dir. R. Darène), 1960
and (according to Grove) "around 60 others."

His Flute Concerto has kindly been contributed here by Elroel, and another member has given us the ballet music "Psyché."

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kleines c
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« Reply #19 on: January 10, 2013, 06:38:37 am »

Greetings from kleines c.  As something of a film buff, I feel qualified to comment on film music and the evolution of the music video.  What better way to see in the New Year than in the company of Adam Buxton and his laptop full of audiovisual marvels at 20:30 (GMT) on Thursday 17 January 2013 (BUG 35)?   Due to unprecedented demand from around the world, everyone reading The Art-Music Forum is cordially invited to join us at BFI Southbank.

https://whatson.bfi.org.uk/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DAE5A49C-5651-4DB3-9DCD-B3082DA39C41&BOparam::WScontent::loadArticle::context_id=10E8EC1B-F0F7-4EA2-A70F-4AE142DEEDCD

It is worth pointing out that when Roger Wright schedules film music of any kind for the BBC Promenade Concerts, such concerts invariably sell out.  I would go further however.  Cinema was arguably the greatest art form to emerge in the twentieth century, and as a form of multimedia, music is a key element to its success. For the record, here are the British Film Institute's 2012 'Sight & Sound' Top Ten:

Quote
1. Vertigo (Hitchcock, 1958)

2. Citizen Kane (Welles, 1941)

3. Tokyo Story (Ozu, 1953)

4. La Regle du Jeu (Renoir, 1939)

5. Sunrise: a Song for Two Humans (Murnau, 1927)

6. 2001: A Space Odyssey (Kubrick, 1968)

7. The Searchers (Ford, 1956)

8. Man with a Movie Camera (Dziga Vertov, 1929)

9. The Passion of Joan of Arc (Dreyer, 1927)

10. 8½ (Fellini, 1963)

846 critics, programmers, academics and distributors have voted – and the 50-year reign of Kane is over. Our critics’ poll has a new number one.  Starring James Stewart and Kim Novak, Vertigo beat Citizen Kane by 34 votes.  In the last poll held 10 years ago, Hitchcock's 1958 thriller came five votes behind Welles's 1941 classic.  But it does mean that Alfred Hitchcock, who only entered the top ten in 1982 (two years after his death), has risen steadily in esteem over the course of 30 years, with Vertigo climbing from seventh place, to fourth in 1992, second in 2002 and now first, to make him the Old Master. Welles, uniquely, had two films (The Magnificent Ambersons as well as Kane) in the list in 1972 and 1982, but now Ambersons has slipped to 81st place in the top 100.  So does 2012 – the first poll to be conducted since the internet became almost certainly the main channel of communication about films – mark a revolution in taste, such as happened in 1962? Back then a brand-new film, Antonioni’s L’avventura, vaulted into second place. If there was going to be an equivalent today, it might have been Malick’s The Tree of Life, which only polled one vote less than the last title in the top 100. In fact the highest film from the new century is Wong Kar-Wai’s In the Mood for Love, just 12 years old, now sharing joint 24th slot with Dreyer’s venerable Ordet. Here is Kim Novak in Vertigo:



http://www.bfi.org.uk/news/50-greatest-films-all-time

For comparison, here are the 2012 'Sight & Sound' 358 Directors’ Top Ten:

Quote
1. Tokyo Story (Ozu, 1953)

2= 2001: A Space Odyssey (Kubrick, 1968)

2= Citizen Kane (Welles, 1941)

4. 8½ (Fellini, 1963)

5. Taxi Driver (Scorsese 1976)

6. Apocalypse Now (Coppola 1979)

7= The Godfather (Coppola, 1972)

7= Vertigo (Hitchcock, 1958)

9. Mirror (Tarkovsky, 1974)

10. Bicycle Thieves (De Sica, 1949)

Subtle and sensitive, Tokyo Story lets the viewer experience the tensions and demands that modern life makes on people.

http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten

Lastly, here are the Top Ten as rated by users of the Internet Movie Database (IMDb):

Quote
1. The Shawshank Redemption (Darabont, 1994)

2. The Godfather (Coppola, 1972)

3. The Godfather: Part II (Coppola, 1974)

4. Pulp Fiction (Tarantino, 1994)

5. The Good, the Bad and the Ugly (Leone, 1966)

6. 12 Angry Men (Lumet, 1957)

7. Schindler's List (Spielberg, 1993)

8. The Dark Knight (Nolan, 2008)

9. The Lord of the Rings: The Return of the King (Jackson, 2003)

10. Fight Club (Fincher, 1999)

In The Shawshank Redemption, two imprisoned men bond over a number of years, finding solace and eventual redemption through acts of common decency.

http://www.imdb.com/chart/top

Any preferences?  It is interesting to chart how critics' tastes change over the decades, and on how directors and internet movie database users rate films so differently.  How subjective are our tastes in film, let alone anything else? As for film music and the Oscars, The Academy Award for Original Score is presented to the best substantial body of music in the form of dramatic underscoring written specifically for the film by the submitting composer. Only one composer has won two Scoring Oscars the same year. In 1973, Marvin Hamlisch won Original Dramatic Score for The Way We Were and Best Adaptation Score, for The Sting. Hamlisch also won Best Song that year, making him the only composer to win three music Oscars in the same year. Only one composer has won Oscars three years in a row. Roger Edens won for Easter Parade (1948), On the Town (1949), and Annie Get Your Gun (1950). Eight composers have won Oscars two years in a row:
 
Quote
1.Ray Heindorf won for Yankee Doodle Dandy (1942) and This is the Army (1943).
 
2.Franz Waxman won for Sunset Boulevard (1950) and A Place in the Sun (1951).
 
3.Alfred Newman won for With a Song in My Heart (1952) and Call Me Madam (1953). He won again for Love is a Many-Splendored Thing (1955) and The King and I (1956).
 
4.Adolph Deutsch won for Seven Brides for Seven Brothers (1954) and Oklahoma! (1955).
 
5.André Previn won for Gigi (1958) and 1959's Porgy and Bess (1959). He won again for Irma La Douce (1963) and My Fair Lady (1964).
 
6.Leonard Rosenman won for Barry Lyndon (1975) and Bound for Glory (1976).
 
7.Alan Menken won for Beauty and The Beast (1991) and Aladdin (1992).
 
8.Gustavo Santaolalla won for Brokeback Mountain (2005) and Babel (2006).

Interestingly, Dmitri Shostakovich and Duke Ellington were both nominated the same year but lost to arrangers of West Side Story. Noted nominated composers known for their music mostly outside of the film world include: Aaron Copland, Kurt Weill, Gian-Carlo Menotti, Philip Glass, John Corigliano, Peter Maxwell Davies, Andrew Lloyd Webber, Artie Shaw, Trent Reznor, Quincy Jones and Herbie Hancock. Rock musicians and pop stars are most often nominated in the songwriting category. A handful that were nominated in the Scoring categories includes: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Prince, Peter Townshend, Rod McKuen, Isaac Hayes, Kris Kristofferson, Anthony Newley, Paul Williams, Tom Waits, David Byrne, Ryuichi Sakamoto, Trent Reznor and Matthew Wilder. Record producers George Martin (the Beatles) and Jerry Wexler (Atlantic Records) also received nominations in the Scoring categories.  My own particular favourite composers for film are Bernard Hermann (Vertigo) and Leonard Bernstein (West Side Story), although West Side Story started off as a stage musical.  My tastes in film music, therefore, are both surprisingly popular and populist.  As for the twenty-first century, we do not yet know what will be the greatest art form to emerge today, although my guess would be that because of the digital revolution, it will be some new, as yet undefined form of multimedia.  In particular, I should like to recommend a visit to the Tanks at Tate Modern on the afternoon of Wednesday 16 January 2013.  I am not me, the horse is not mine.

http://www.tate.org.uk/whats-on/tate-modern-tanks/exhibition/william-kentridge-i-am-not-me-horse-not-mine

Afterwards, how about a pint at The George (16:00 GMT)?

http://www.nationaltrust.org.uk/george-inn/

Whatever the future of multimedia works of art, music will remain a key component.  Perhaps we are writing the greatest score of the twenty-first century today?
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Toby Esterhase
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« Reply #20 on: January 11, 2013, 12:37:04 am »

Another italian composer was Alessandro Cicognini in his music for (here) well known movie "Ettore Fieramosca"
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kleines c
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« Reply #21 on: January 11, 2013, 01:20:38 am »

Out of interest, what is your favourite film, Toby Esterhase, and more pertinently, what is your favourite film music?  How about the rest of The Art-Music Forum community?  Have any of you ever written any music for films?  Or perhaps these are the kinds of question I should not really be asking you all?  I suppose that when we all come online, we cannot really hope to understand the nature of the beast with which we are dealing?
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Toby Esterhase
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« Reply #22 on: January 11, 2013, 11:48:12 pm »

Out of interest, what is your favourite film, Toby Esterhase, and more pertinently, what is your favourite film music?  How about Sydney Grew and the rest of The Art-Music Forum community?  Have any of you ever written any music for films?  Or perhaps these are the kinds of question I should not really be asking you all?  I suppose, Sydney Grew, that when we all come online, we cannot really hope to understand the nature of the beast with which we are dealing?

Soundtracks of 60-70's, here  samples ( i am posting italian soundtrack because outside Morricone IMHO are unjustedly neglected) :
a thriller

and a great horror movie

And today a Japanese female composer Yoko Kanno
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kleines c
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« Reply #23 on: January 12, 2013, 10:09:24 am »

I went through your links above yesterday, Toby Esterhase.  Thank you for posting them.  I liked all the music very much indeed, particularly Yoko Kanno.
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Toby Esterhase
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« Reply #24 on: January 28, 2013, 12:04:19 am »

Kolossal "Scipione l'Africano" was the main contribution by Ildebrando Pizzetti to Film music (the composer wasn't fully satistied of it) IMHO there isn't a cd recording so i've to post entire movie.
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Toby Esterhase
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« Reply #25 on: September 08, 2016, 01:49:10 am »

A movie about Cicognini's life (frankly speaking i haven't thought that he is so popular)

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Toby Esterhase
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« Reply #26 on: January 12, 2019, 12:45:07 am »

Russian Film Composers Union:
https://unikino.ru/%D0%BA%D0%BE%D0%BC%D0%BF%D0%BE%D0%B7%D0%B8%D1%82%D0%BE%D1%80%D0%BE%D0%B2-%D0%BA%D0%B8%D0%BD%D0%BE/
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