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The Bennett book is a bit expensive, so had to think carefully about it. But the preview I read was too good to pass on. Detailed, honest and informative, with refreshing doses of humor and self-irony. About the Grieving book, I’d be happy to lend you my copy. I’ve been in a bit of “composer-biography-frenzy” as of late, with bios of Prokofiev (Jaffé) and Beethoven (Nettl) in addition to the Williams.
Although the new JOHN WILLIAMS biography isn’t formally released until early next month, I finished reading my copy a few days ago in a thoroughly, thoroughly enriching experience. In the acknowledgments chapter Thor’s name is mentioned, so I presume you have also read the book, Thor?
Concerning other books related to film music, I have just purchased the autobiography of Robert Russell Bennett – the unbelievably brilliant Broadway orchestrator and composer – who’s music I only recently discovered having spent some of my summer re-watching movie musicals from the 50s and 60s. It is striking how little information there is to be found online about a man whose art and craft surely belongs among the better musical minds of the previous century.
Hi Thor,
Thank you for the inquiry! I can confirm these are the two commercially available soundtrack releases.
I just had a quick listen to excerpts from DEN HENGTE MANNEN, which I have deeply conflicting feelings about. On the one hand, I feel it represents my best film work from the perspective of craftsmanship and for its “stoic” tendencies that must certainly have been inspired by Prokofiev and Herrmann (but also the brilliant Norwegian Ørjan Matre who’s work I was infused with at the time). On the other hand, there was not much money involved (none at all, to be fair) so the circumstance of getting the score recorded were quite horrendous. It was a miracle we actually pulled it off, something I for the most part attribute to my own youthful naivety towards the dense subject of orchestral recording at the time. I also remember our friend Alan reviewing the score on his website with the striking phrase “it sounds like it was recorded in a tent!” – which might as well have been true.
After the film’s release, my thought was that it was better to accept the offer from a small local record company to release the soundtrack with its gaping flaws than not release anything at all, and I remain skeptical about whether or not that was wise (I’ve heard from a couple of musicians who heard the score and didn’t care for it, which I suspect they may have if the recording was adequately done).
The lessons were however learned for ANNE & ALET, where it was actually Knut (with a new fantastic score you mentioned above!) who pointed me in the direction of the string section of the F.A.M.E’s recording orchestra in Skopje. This time there was money, and I took his advice to enlarge the celli and bass sections for a more cinematic sound prone to the film medium, and crafted a homogenous sound that could be easily rehearsed and would minimize things like intonation issues that might occur. Where the music for DHM was stoic, relatively complex and layered, the A&A score was far more emotional and direct. By necessity of course, but to a certain degree also by choice. The truth is I care much more for the DHM score, but that’s an enthusiasm I share with practically nobody else!
There are a couple other film related things you could check out, if you haven’t already:
BAK FASADEN (2008) was my first feature score. My skills as an orchestrator were literally non-existent, but I worked hard enough at crafting the melodic themes that I recently posted most of the score on SoundCloud: https://soundcloud.com/markcandasamy/sets/bak-fasaden-2008
SYMPHO NOIR (2015) was loosely based on the thunderous string-motif from Vivaldi’s Summer concerto. It was an “artsy” project where the music was recorded first, and the film was scripted and filmed to match my composition. A luxury project for a composer, but I had only three weeks to write (ended up taking four and a half though) and the recording session was a brief 3-hour seance with little circumstance to evaluate or make any adjustments, which makes me a little reserved about this one as well: https://www.tvagder.no/nb/video/3725
Thor, reach out when in Grimstad and we could perhaps meet up? I might borrow your “best summers in the world” angle as I’m currently thinking of a way to persuade my family in London to visit next year.
My own plans are simple and quiet, after already having returned from a lovely trip to Spain my wife took us on. Spending time with our children is certainly highest on the priority list (5 and 6 years old), and keeping bees also requires a certain amount of attention and maintenance (in a moment I’m off to check the weight of the honey boxes). Thirdly, I’m arranging film music for a recital in November (piano and flute), including Dr. Zhivago, a little suite from Sound of Music, and On The Waterfront. Perfect summer-work.
Had a thorough listen to Goldsmith’s Rudy, from start to finish. A true masterpiece. Several times I found myself thinking of Joel McNeely’s comment about orchestrating for him in the 90’s, how his sketches had “so few notes; so much music”. Also, from a sound engineering aspect, his scores possess a distinct, “airy” sound I find to be quite unique. Would be interesting to learn if there are any sources one could learn more about how they accomplished this sound.
Would be fun to flip through some of those pages some time. A few of them familiar (Randall Meyers, Adorno/Eisler). Of course I am also hugely anticipating the Grieving book in a few short months. Friends and family who are already tired of me bringing up little Williams anecdotes from time to time don’t know what’s coming their way…
As a youngster I pretty much wore out the school library copy of the late Roy Prendergast’s “Film Music: A Neglected Art”. As I understand it, it was the only comprehensive book on film music for many years after its publication (1977). I have a lot of great memories marveling at the details in the craft of the Golden Age masters, as presented by Prendergast. It has been too many years since I last opened the book. Perhaps it is finally time to order my own copy!
The book I actually own myself is not one I could recommend, although I’d be happy to hear from someone who might have found the book useful? Only in Norwegian, the book approaches the subject of film music from a strictly theoretical perspective. It felt awkward and artificial, and the author’s limited experience with the actual “mechanics” of making music, as it seemed to me at least, made the book unrealistic. However, the publisher claims the book is “internationally recognized”, so it might be me there’s something wrong with. Open for the possibility!
Wrong topic to say all is well? I’m off to Risør shortly, for the chamber music festival. Looking forward to “getting away”, even if it’s only for a few hours.
Sad to hear about the tinnitus Thor. Sure hope you have some useful remedies to alleviate the stress.
Hollow Man has, as I recall it, one of the better DVD audio commentary tracks from Goldsmith. I think he only did two or three of those, while that whole concept was trending in the early 2000s. I’ll have to revisit those tracks at some point, as it provides a unique window into his way of interpreting a picture.
On the subject of Goldsmith, I find the Star Trek Voyager Theme to be the best of the Trek-themes. To have a theme so simple, yet projected with such nobility, grandeur and sophistication, is astonishing to listen to. I could listen to it every day, and never tire. I believe there is an interview with Joel McNeely, who orchestrated for him, where he of Goldsmith says something to the effect of “so few notes, so much music”.
Lovely picture! Although while you had a “thumbs up” moment I’m pretty confident mine was the equivalent of a thumbs down. Or as I was thinking at the time; a signal to the ushers to “get this guy outta here”.
Thanks, Thor. Wonderful initiative to have this forum.
I thankfully got to see Williams live in May 2009 for the premiere of the viola concerto (Boston). I was right at the front, seated at a table directly in front of the podium. I clearly didn’t understand the etiquette at all, as I was severely underdressed fashioning a striped cotton sweater and brown jeans among all the galla dresses and tuxes. Although it wasn’t a great feeling realising my huge mistake, as Williams turned around to greet the audience during the first applause he suddenly stared right at me, surely noticing the red-and-grey-striped sweater. Similar thing happened in the parking lot as he looked around to say hello, as about 40 of us waited for the possibility of a short greeting and perhaps autograph signing. I like to think there is a hidden irony there, that the “disrespectfully” dressed lad actually emptied his student bank account and travelled across the Atlantic just to be there that one evening. The over-dressed people I shared table with actually complained they didn’t “recognise any of his tunes” as much of the program consisted of works like Jane Eyre, a brand new viola concerto, “Stargazers” based on the friendship theme of E.T., and other rarities (relatively speaking).
I’m actually glad I’ve never actually met him (or perhaps that what I keep telling myself to save me the disappointment?). A decade or so ago I was able to visit the lads at Jo Ann Kane Music Service, and quite freely roam their unbelievable library of scores and handwritten manuscripts. On a desk near the main entrance was a small table with a handwritten manuscript. I recognised Williams’ handwriting right away and the theme from Schindler’s List arranged for cello, instead of violin. That version is likely to be the one recorded with Yo Yo Ma and the NY Phil a few years ago. I asked about the manuscript and was told Williams had come by personally to drop it off only a few moments prior to my arrival. If I had been there I would likely not have been able to speak or do anything, and I’m not one to care much about a photo or autograph, so I feel its perfectly OK that it wasn’t meant to be!
February 2005. Purely by chance, I was to be in London visiting relatives at the very same time John Williams was at Abbey Road recording the hugely anticipated Revenge og the Sith with the LSO… and he was scheduled to appear as conductor of the LSO at Barbican Hall for an evening of his film music! With help from my mother I was able to get tickets, and actually remember trying to conceal some of my excitement at home as certain family members would tease me for my interests. Unfortunately, Williams did not participate that evening with the official reason he was due to commence work on War of the Worlds (Dirk Brossé was his replacement). I don’t recall much of the disappointment (however substantial that must have been at the time), only the thrill of experiencing the entirety of that evening. A special greeting to the audience from Steven Spielberg was read by the emcee (I remember being mesmerized by that), and several musicians were interviewed about their experience recording Revenge of the Sith and other scores – including the great, late Maurice Murphy. In hindsight, what a privilege to have heard him play the opening of Star Wars shortly before his retirement. Context is everything, and the joint facts that this was the first time I heard any of that music performed live, and got to meet and feel the excitement of others with a very similar passion to mine, made it a very special evening.
