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 Posted:   Aug 1, 2014 - 3:32 AM   
 By:   Steve Vertlieb   (Member)


Thought you might find this wonderful communication from the illustrious composer of interest.




http://hugofriedhofer.runmovies.eu/?p=1777



Best Wishes,


Steve

 
 
 Posted:   Aug 2, 2014 - 7:51 AM   
 By:   Steve Vertlieb   (Member)

Considering the degree of beauty he so sublimely created in his music, I was struck by his humility and self deprecating astonishment that anyone would find value in his work.


Steve

 
 Posted:   Aug 2, 2014 - 9:58 AM   
 By:   Grecchus   (Member)

Steve, that is one memorable letter of 2/28/1980.

 
 
 Posted:   Aug 2, 2014 - 10:09 AM   
 By:   PFK   (Member)


What a great letter Steve, thanks for posting it.

I especially like: Best Years of Our Lives, Soldier of Fortune, One Eyed Jacks, Hondo, Vera Cruz, Barbarian and the Geisha and many others.

He also was a great orchestrator for Steiner and Korngold. It appears he contributed a lot to the scores of Alfred Newman and others.

No one comes close to his huge talent today I'm afraid. So it goes .........

 
 
 Posted:   Aug 2, 2014 - 8:10 PM   
 By:   Preston Neal Jones   (Member)

You've reminded me, Steve, of the golden moment when I opened my mailbox on Hickory Lane in New Canaan, Connecticut, and found therein a letter of reply from Hans J. Salter in Studio City, California...

Many thanks for sharing your own golden moment.

I first met Tony Thomas when he was organizing a film music series of film-clip/Q&A/audience participation evenings at the annual Filmex Festival. Each event was tied to a theme (no pun intended) and featured 4-6 major composers, everyone from Henry Mancini to Miklos Rozsa. One evening, a composer who had been invited to participate -- you can see where this is going -- demurred, sending a letter from which Tony read aloud, "Leave me out of it!" Of course, Tony announced to the absent Mr. Friedhofer, "Sorry, Hugo -- we CAN'T leave you out of it!" and proceeded to show some great clips to the enthusiastic crowd.

It would seem, obviously, that Mr. Friedhofer's reticence and shyness were with him his whole life.

 
 Posted:   Aug 2, 2014 - 8:39 PM   
 By:   George Komar   (Member)

Thank you for these nostalgic reminiscences, Steve and Preston. They brighten up this Forum considerably.

 
 
 Posted:   Aug 3, 2014 - 1:33 AM   
 By:   Preston Neal Jones   (Member)

Thank you for saying that!

What say, Steve -- shall we hold hands and do a curtain call bow?

(Incidentally, God is in the details, and I just realized I'd left out one important word in the Tony Thomas quote, so I've edited it in where it belongs.)

 
 
 Posted:   Aug 4, 2014 - 3:53 AM   
 By:   Steve Vertlieb   (Member)

I've found over the past half century that the larger talents within the film and music industries have the smaller ego's. Miklos Rozsa possessed an old world dignity that shone through his cultured persona. David Amram, a hugely talented composer and musician, has both charm and enthusiasm to match his artistic gifts, and is still performing well into his eighties with the joy and energy of a twenty five year old. He remains, however, a kind and humble soul. James Bernard of England's Hammer Films was an uncommonly gentle and generous artist. Lee Holdridge continues to earn well deserved recognition for his newest opera and lifetime of achievement and yet remains, above all else, a gentleman. Mark McKenzie is another sublimely gifted composer whose personal dignity and humble persona set him apart from the social climbers, and ego driven hordes proliferating Hollywood. Hugo Friedhofer remained humble and self effacing throughout his life. It has been a joy to have known and interacted with these wonderful composers. Their warmth and wisdom have often equaled, and even surpassed their sublime artistry.

Steve

 
 
 Posted:   Aug 5, 2014 - 8:46 AM   
 By:   Rozsaphile   (Member)

Yes, it must be a wonderful benefit of composing for the movies to know that your music has actually reached out and touched thousands (perhaps millions) of people. And it must have been especially nice for the elderly Friedhofer, saddled with a possibly depressive personality and other problems, to hear from a true and sensitive admirer like Steve. How different life must have been for him than it is for Mr. Williams today! I'm certain that Friedhofer received much personal gratitude in the years following THE BEST YEARS OF OUR LIVES. That film had a unique impact on the postwar American psyche, and the score received more published attention than any other film music of its era. But 1946 was a long time ago, and Friedhofer must have been well aware of the Hollywood adage that you're only as good as your last picture.

I wonder how often other composers of the studio era heard from their fans. We know that Korngold (or at least Warner Bros.) received many letters inquiring about the music for KINGS ROW and other films. Miklos Rozsa said that he received "fan mail" from an early date, though it did not become a flood until after BEN-HUR. What of the other toilers in the studio system?

 
 
 Posted:   Aug 5, 2014 - 10:49 AM   
 By:   PFK   (Member)

Yes, it must be a wonderful benefit of composing for the movies to know that your music has actually reached out and touched thousands (perhaps millions) of people. And it must have been especially nice for the elderly Friedhofer, saddled with a possibly depressive personality and other problems, to hear from a true and sensitive admirer like Steve. How different life must have been for him than it is for Mr. Williams today! I'm certain that Friedhofer received much personal gratitude in the years following THE BEST YEARS OF OUR LIVES. That film had a unique impact on the postwar American psyche, and the score received more published attention than any other film music of its era. But 1946 was a long time ago, and Friedhofer must have been well aware of the Hollywood adage that you're only as good as your last picture.

I wonder how often other composers of the studio era heard from their fans. We know that Korngold (or at least Warner Bros.) received many letters inquiring about the music for KINGS ROW and other films. Miklos Rozsa said that he received "fan mail" from an early date, though it did not become a flood until after BEN-HUR. What of the other toilers in the studio system?




When I first visited Hans Salter in 1980 I told him how much I liked his scores and that he was not forgotten. He seemed a little surprised by my remark. He said: " I get quite a bit of fan mail. Just the other day I got a letter from Russia! I didn't think my films were shown there!"

Preston could give you more info on Hans Salter and the fan mail he received.

 
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