July 22, 2015 |
The personality of the screen composer is often a baffling mystery. From André Previn to John Williams to Howard Shore, the music might be dashingly sexy, inspired with fevered religiosity, or shrouded in enigmas - and completely unlike the composers who created it. The amiable, low-key Shore wouldn't seem to fit in with the myth-steeped screen characters for whom he has so memorably written in the Lord of the Rings series. That will be celebrated in a special concert screening of the film The Fellowship of the Ring , accompanied live by the Philadelphia Orchestra and Mendelssohn Club, at 7:30 p.m. Thursday at the Mann Center for the Performing Arts.
August 9, 2012 |
NEW YORK - Marvin Hamlisch was blessed with perfect pitch and an infallible ear. "I heard sounds that other children didn't hear," he wrote in his autobiography. He turned that skill into writing and arranging compulsively memorable songs that the world was unable to stop humming - from the mournful "The Way We Were" to the jaunty theme from The Sting. Prolific and seeming without boundaries, Mr. Hamlisch, who died Monday in Los Angeles at 68 after a short illness, composed music for film heroes from James Bond and Woody Allen, for singers such as Liza Minnelli and Aretha Franklin, and high-kicking dancers of the Tony-winning A Chorus Line . "He was a true musical genius, but above all that, he was a beautiful human being.
August 8, 2012 |
Marvin Hamlisch, 68, who composed or arranged the scores for dozens of movies, including The Sting and the Broadway smash A Chorus Line , has died in Los Angeles. Hamlisch collapsed and died Monday after a brief illness, his publicist Ken Sunshine said, citing the family. Other details were not released. Hamlisch's career included composing, conducting and arranging music from Broadway to Hollywood, from symphonies to R&B hits. He won every major award in his career, including three Academy Awards, four Emmys, four Grammys, a Tony and three Golden Globes.
September 20, 2011 |
NEW YORK - It's been more than a half-century since Christopher Plummer played Henry V - 1956, to be exact. If it's hard to believe that this great (and still very busy) actor is now 81, it was even harder to believe it on Saturday evening as he roamed the stage of Avery Fisher Hall at Lincoln Center as the young king, reciting excerpts of Shakespeare's play as the New York Philharmonic performed from the lively William Walton score of the 1944 film. Plummer has been quoted as saying it was this movie, starring Laurence Olivier, that made him take up acting, and it was clear he had a deep relationship with Henry V from the moment he began the familiar prologue: "O, for a Muse of fire, that would ascend / The brightest heaven of invention, / A kingdom for a stage, princes to act / And monarchs to behold the swelling scene!"
November 26, 2007 |
Considering how central-Eurocentric the classical music world still can be, the idea of a regular Philadelphia Orchestra subscription program pairing various mutations of Hispanic and Latino culture would have seemed unworkable a few years ago. What's the repertoire? How is it sequenced? Even now, such a thing could only have been successfully pulled off - and it was - with a guest conductor such as Peru-born Miguel Harth-Bedoya and a nod to tradition with an appearance from dependable Franz Liszt.
August 20, 2004 |
Several famed classical artists have played on film scores in recent years, the most notable being violinist Itzhak Perlman in Steven Spielberg's "Schindler's List" and cellist Yo-Yo Ma in "Seven Years in Tibet" and "Crouching Tiger, Hidden Dragon. " Add another to the list, as Curtis alumna and superstar violinist Hilary Hahn checks in on M. Night Shyamalan's newest flick, "The Village" (Hollywood). The score, as in all Shyamalan's films to date, is by James Newton Howard, one of the finest of today's film composers.
August 22, 2003 |
Of the summer's film scores, the best I've heard have been from family flicks rather than big adventure movies. The finest comes from Thomas Newman, whose score to "Finding Nemo" (Disney) continues a streak of excellent writing most recently heard in "Road to Perdition. " Newman doesn't write melodies as much as he composes exotic fragments. His rhythmic hooks nudge and insinuate, evoking just the perfect underwater moods. For this Pixar fish story, he knew just when to be serious, when to offer a jazzy sound and when to clown.
May 14, 2003 |
When a fresh-faced band of Rowan University students showed up at New Jersey State Prison last month toting a video camera, guards were surprised. When they learned what the students were there to do, they were amazed. The group, part of a senior documentary production class, were at the Trenton prison to tape a death-row interview with inmate Robert O. Marshall. "They couldn't believe we had permission to do it," said Jason Kitchen, 22, producer of the half-hour documentary about the Marshall case, which premieres tonight before students and faculty at Rowan.
March 15, 2001 |
Richard Stone, 47, an Emmy Award-winning composer who created context, provided texture and generated laughs with his musical scores for cartoon television shows, died Friday of pancreatic cancer at his home in West Hills, Calif., a suburb of Los Angeles. Mr. Stone, who was diagnosed with cancer in November 1999, grew up in Rydal and graduated from Abington High School in 1971. He had lived in the Los Angeles area since 1980. An animation composer for Warner Bros., he won seven Emmy Awards, including two daytime Emmy Awards for his theme music for Steven Spielberg Presents Animaniacs and Freakazoid.
October 29, 2000 |
For those who came of movie age in the 1950s, the screens seeped with the stuff of which nightmares are made - Creature From the Black Lagoon, Tarantula, It Came From Outer Space. But for the man who scored those and almost 200 other films, it was something more mundane that woke him up nights. "I still have recurring dreams of not making a deadline," said Herman Stein, 85, the Philadelphia-born movie, well - he doesn't like the term - composer. Stein thinks of himself as more of a craftsman, and the perceived difference makes him downplay his contribution to film in the 20th century.