Get PDF THE BAD AND THE BEAUTIFUL: My Life in a Golden Age of Film Music by David Raksin

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When Don auditioned for Stokowski prior to the scoring of Fantasia, the conductor was satisfied that he had made the right choice for the bassoon section, but chided Don for preferring film score recording to performing in a symphony orchestra. See Appendix 1. With the formation of his woodwind quintet which became known as The Los Angeles Woodwinds, Don's group attracted the attention of composers of the new music as well as the classical repetoire.

With the efforts of Peter Yates and his wife, concert pianist Frances Mullen, the first Evenings on the Roof concert series historically launched chamber music in Los Angeles. Don's life-long association with musicologist, Lawrence Morton, Peter Yates's successor and organizer of The Monday Evening Concerts series in Los Angeles, became the catalyst for premiere performances of new works by major composers. Lawrence Morton and his brother, Arthur were both talented arrangers.

Arthur's accomplishments in film scoring are legendary See McCarty, C. New York: Da Capo Press, Lawrence Morton's arrangements for 13 woodwinds are included in the Christlieb Music Catalog. Oboists need not shy away from the site because most of its emphasis on bassoon cane and tools.

Charlie Chaplin’s funniest film to be accompanied by orchestra

Most of the music chosen is composed and arranged for oboe and English horns and the choral preludes use 2 oboes and baritone oboe as well as flutes, clarinets, bassoons and contra bassoons. The second edition of Tony Thomas' book Music For the Movies was an especially invaluable source of information for this article. The following is an incomplete list of Raksin's scores for film and television his early film career included many uncredited works which are not listed here : DR. Goldsmith, Piccioni, and now, David Raksin. I never got to meet the first two although I really tried with Goldsmith , but I got to know Mr.

Charles Gerhardt's Acclaimed Classic Film Scores Series Reissued by SONY MASTERWORKS

Raksin through several meet-ups and I must say, he was a true gentleman. I was the first to greet him and tell him how much I appreciated his work. He was very friendly and happy to meet a fan he also graciously signed my LP and CD booklet. He even said some nice things about the notes while onstage, which was good for my ego, to say the least! For the next few years, I would occasionally run into Mr. Raksin at some film event, and he always remembered me, asked how things were going and what I was up to.


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Needless to say-another ego boost! I was in the Cinegrill with a writer friend of mine of some renown, who had met and interviewed a number of movie notables John Wayne, Cyd Charisse, Danny Elfman, etc. Suddenly, in walked David Raksin, who sat down at one of the barstools and appeared to be waiting patiently. I went over to see him, he greeted me warmly, and after a minute or so, I looked to see my friend looking a bit put-off by my conversation. I immediately introduced him to Mr. Raksin, they chatted, then my friend said to me: "I'm jealous. I only saw the man once more after that, but I will never forget his kindness to a fan, his terrific work as a composer and his ability to acknowledge the public for making his "Laura" theme so popular.

I will miss him very much. Soundtrack Collector has reprinted a AOL interview with Jerry Goldsmith answering questions posed online by his fans, which can be accessed at this link.

David Raksin

Our thanks to Bruce Younger for alerting us to it. In my recent obituary on Jerry Goldsmith, I referred to how his dazzling end title cue for Otto Preminger's In Harm's Way was maddeningly obscured by sound effects in the film. I recently came across a print interview in Elmer Bernstein's Film Music Notebook , which Elmer Bernstein conducted with Goldsmith who had just seen a cut of Capricorn One and was about to begins scoring , and at one point they discussed their relationships with Preminger. Goldsmith said that Preminger had him on In Harm's Way for nine months, including the filming which is probably why Goldsmith has a cameo as a pianist-bandleader , and when Goldsmith finally left during the dubbing to fulfill another commitment, out of "pettiness" Goldsmith's word Preminger drowned out the end title with sound effects.

This really has nothing to do with film music, but has anyone looked closely at the print ads for Alien vs.


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    DAVID RAKSIN – Fathers of Film Music, Part 10

    Sherman, Robert B. Winterbottom, working from a screenplay by his frequent collaborator Frank Cottrell Boyce, films it all with a logy elegance reflected in the alternately harsh and dreamy score by the Free Association. Scott, New York Times "Winterbottom's habitual fondness for the Scope screen serves him well in this beautifully conceived future world, with the work of two d. This is best expressed through bleached-color imagery with the aid of lenser Jess Hall, while pace is picked up by editor Robert Ivison and a jazz-rock score by the Free Association.