CALIFORNIA | LOCAL
November 7, 2000 |
Aaron Copland stands near if not at the top of most lists of great American composers. Just about everyone has heard his "Fanfare for the Common Man," "El Salon Mexico," "Appalachian Spring" and "Billy the Kid." But some important Copland music is more obscure--his film scores. Pacific Symphony will be honoring this music as part of its Copland Centenary Festival, Sunday through Nov. 19.
December 16, 2004 |
When most people drive on the Golden State Freeway, just north of Los Angeles, they worry about traffic. Michael Feinstein worries about George Gershwin, Cole Porter and a priceless musical legacy buried near the onrushing cars. He knows that MGM officials, in a 1970 housecleaning, dumped film scores, musical manuscripts and recordings by some of America's greatest songwriters into a landfill by the freeway near Valencia.
CALIFORNIA | LOCAL
January 9, 2012 |
As concertmaster for the orchestra that recorded the soundtrack for the movie "Psycho," classical violinist Israel Baker helped create a piece of pop culture that is regarded as one of Hollywood's most terrifying. He led the piercing attack of the violins that accompanies the 1960 Alfred Hitchcock film's chilling shower scene. He "was a renowned violinist and concertmaster in the Hollywood studio system" and was heard on dozens of movie scores, said Jon Burlingame, a film and music historian.
January 5, 1986 |
Item: After disappointing previews, director Ridley Scott and Universal Studios drastically cut an hour out of his $30-million fantasy-epic "Legend" to suit American audience tastes. Universal also commissions a new score by synthesizer-pop band Tangerine Dream to replace "Legend's" original symphonic score by Oscar-winning composer Jerry Goldsmith.
January 15, 2006 |
TRADITIONALLY, going Hollywood has meant repudiating one's past in favor of a glitzier future. But for Jan A.P. Kaczmarek, winner of an Academy Award last February for his score for "Finding Neverland," it's become a way to go home again -- on his terms. Friday at Royce Hall, a concert titled "Journey to Light" will explore the post-Romantic concert and film music of the Polish-born Kaczmarek, 52.
December 27, 1997 |
The credits for "Scream 2" say "music by Marco Beltrami." But every time David Arquette's character, Dewey Riley, shows up, the music on the soundtrack is from the John Travolta thriller "Broken Arrow," composed by Hans Zimmer. What gives? The answer involves two words that have become the bane of many composers' existence: "temp track." The term refers to the temporary music soundtrack that accompanies rough cuts of movies for early screenings for studio executives, preview audiences or both.
January 26, 2003 |
You might not know his name, but his music--experimental, impressionistic, sparse--haunts TV's "Six Feet Under," for which he has been nominated for a Grammy in composing and arranging, and films such as "Road To Perdition," "In the Bedroom," "American Beauty," "The Green Mile" and the upcoming kid flick "Finding Nemo." Composer Thomas Newman, 47, is scion of a movie score dynasty that includes dad Alfred Newman (nine Oscars, 45 nominations), uncle Lionel Newman ("Hello, Dolly!"
CALIFORNIA | LOCAL
December 30, 2012 |
Sir Richard Rodney Bennett, a prolific British composer, arranger and pianist whose film scores were nominated three times for Academy Awards, has died in New York City. He was 76. Bennett died Dec. 24 after a brief illness, his publisher Novello & Co said in a statement. [For the Record, 2:50 p.m. PST, Dec. 30: A previous version of this post cited the title of the film "Far From the Madding Crowd" as "Far From the Maddening Crowd. " ] In 1967, Bennett was nominated for his first Oscar for the score of " Far From the Madding Crowd.
June 8, 2011 |
It has been a slow tempo for Hollywood's session musicians. Work has grown more scarce in the last two decades as studios have slashed music budgets and composers have relied more on synthesizers and digital samplers to produce scores for their movies and TV shows. Local musicians have been further squeezed by competition from other cities where scores can be performed at a fraction of the cost, thanks to film tax credits or the use of nonunion musicians in such countries as Slovakia and Poland.