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I don't know what you mean about "accepted," but I for one happen to know that Moross orchestrated BEST YEARS for Friedhofer, just as I know that Friedhofer orchestrated a lot of stuff for Steiner, though I did not happen to know that Moross worked on SINCE YOU WENT AWAY.
As for presenting music by those fine composers who worked for Cinerama -- why WOULDN'T we want to see that happen?
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Dear lexedo,
Just for the record and to be absolutely clear, no criticism of your questions has been intended on my part, and I'm sorry if I gave that impression. I'm sure I speak for all of us old duffers when I say that I'm overjoyed to have a youngster like you taking such an interest in the classics. God bless you, and may your tribe increase!
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I'm glad to see Albany has reissued the Koch disc. "The Last Judgement" ballet is definitely worth hearing.
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A freshly edited piano-conductor score was made of the score though, and is available. I saw it in Colony Records a year or so before it closed, nearly fainted, and bought it as quickly as possible. There was a great staged-reading version done not too long ago, and a version done for television in the seventies, I believe - I have a copy of that broadcast somewhere.
One of my very favorite theatre scores - I think I've posted about it at length elsewhere, but it's really great, and I've introduced it to quite a few friends who didn't know about it, and they too fell in love with it immediately. It would be wonderful if performances of it could be arranged as part of the centenary - even an "in concert" version with orchestra would be great, and would probably be a little easier and faster to get on its feet. We'll see...
Moross, of course, earned his place in the Great American Songbook with "Lazy Afternoon," but for whatever little it's worth, "Windflowers" might be my favorite number in the score, absolutely wrenching stuff.
Amongst the many aspects of this giant's career that is frustrating is that his one musical THE GOLDEN APPLE never got beyond a highlights album while a ton of non-descript musicals have gotten published and re-published. There is great potential here but no one seems to notice or care.
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Well, today's the day - this great man of American music was born 100 years ago. The music he composed has given so much delight to my ears for a VERY long time, it's impossible to imagine life without it! He's one of the very best, and as I listen now to The BIG Country for the 1000th time, I still love every note, every sound that I hear. It's magic.
Thank you, sir.
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A toast to the composer of The Golden Apple.
May you live in our hearts and minds for another one hundred years! Salude!
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Moross's rhythms are so danceable. Sometimes I think ballet was his ideal medium.
Amen. For me that's Moross in a nutshell. His rhythmic melodies can be whistled to and danced to.
Elsewhere on this forum is a discussion on "Why do people get hung up on themes?" I'm of the opinion that the human history of music could not have survived without song and dance -- whether joyful and lively, or melancholic and pensive, or dark and brutal. They are at the essence of what makes music memorable and life meaningful. All other developments in music in the last century may be noteworthy, interesting, even exciting, but they can never be a replacement for the life-enhancing artistic accomplishments of composers such as Moross.
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