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Fascinating stuff, Ray. Thank you. On a related note I wanted to alert you and everyone else to an early Newman score I recently stumbled upon. It's NIGHT WORLD from 1932, which features Lew Ayres and Mae Clarke, with Boris Karloff in a supporting role. The score is in the same sort of jazzy, up-tempo vein as STREET SCENE. The odd thing is, it's a Universal film, which is not a studio with which Newman is usually associated, especially at that time. Another odd thing is that is that the ambience of the recording does not sound like that of Universal films of the period, which had a much more "dry" studio sound. NIGHT WORLD has the same acoustics as Newman's United Artists films of the period. I know it would be odd, but I wonder if the score was recorded at UA instead. The film is on YouTube:
https://www.youtube.com/watch?v=G11My48HHws
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Well, I found the Hollywood article at Lantern. Then I Googled Newman and Paderewski and found the Connecticut article.
Here's the link for Lantern, an amazing resource for Industry publications:
http://lantern.mediahist.org/
The actual uploads were made to archive.org but Lantern is a great filter resource for searches.[/endquote
Thanks, Ray for the research on Newman. I can't get enough of him. I hope you do the same with other Golden Age composers from the Chelsea Rialto studio.
Jim P.
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Thanks for posting this Ray! Alfred Newman was one of the best!
IMO, Alfred Newman was THE BEST.
This is not just based on his music.
He was the best conductor Hollywood ever had.
He was the best adapter for musicals in Hollywood, as well. Hallmarks of his career are "South Pacific", "Camelot", "Carousel" and "The King and I."
He ran the best music department in Hollywood with the finest players. The 20th Century-Fox Studio Orchestra could have held its own with ANY orchestra in the world.
He developed a unique way of recording music to film.
He nurtured more composers and made fabulous careers available to composers who would not have fared as well as independents (at a time when other studios weren't looking for composers). Among them were Hugo Friedhofer, David Raksin, Bernard Herrmann and Alex North. And they didn't get "dregs" to score, either. They were given phenomenal opportunities to express themselves "to" film.
No other composer in Hollywood EVER accomplished as much.
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I remember coming out of "Anastasia" haunted by his Main Title theme. I was 10. I hummed it all summer long.
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I remember coming out of "Anastasia" haunted by his Main Title theme. I was 10. I hummed it all summer long.
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