Newman sounds as if he is reading from a prepared script. Perhaps Thomas had worked with him before they sat down and opened the mike.
That short Gershwin prelude sounded vaguely familiar. You can hear a musical descendant in the touching theme for the Maureen Stapelton character in Newman's very last film
Really nice to hear Newman's comments on Gershwin.
I have always loved, above all others, Newman's recording on AN AMERICAN IN PARIS on Mercury Records. He is not afraid to really swing the pendulum to wherever it needs to go. In the romantic passages, the music just gushes (in a good way), and in the jazzy passages, it really swaggers brashly. A great recording.
William, Your original posts of the interviews no longer work - any chance of re-posting please? Wonderful to hear HTWWW in live performance only a year after it's premiere and interesting that AN allowed himself a little rubato at the finish.
And hearing the Prelude brought me back to high school days and a concert band version (if you can believe that). I was a senior (clarinet) and my friend Mike a soph who worked on the trumpet lead. I was trying to get him to slur it a little to make it sound more Gershwin bluesy. Probably would have gotten our Mr. Holland pissed if he walked right in at that moment. A sunny day 'twould not have been. But oy even then the FSInstincts were kicking in and I was not going to be denied my shot...
William, Your original posts of the interviews no longer work - any chance of re-posting please? Wonderful to hear HTWWW in live performance only a year after it's premiere and interesting that AN allowed himself a little rubato at the finish.
I'd like to, but the vids are 'no longer available': no doubt there's a deemed problem with rights since this is a CD or download available from Amazon etc..
Thank you, this is where I found they were contemporaries. Initially I thought "Street Scene" was Gershwin. But without a doubt if you did "New York" at that time (or now) you had to use that Gershwin sound. I just realized this was only a few years after "Rhapsody in Blue".
Hey Morricone, ain't that somethin'? Goish was the man for that sound all right. Wonderful thread way back when re Rozsa and The Lost Weekend and the Gershwin "sound," too.
PS re-mentioned in the following; good companion thread (to William's here)
