 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Many Thanks for solving that, PFK. Somehow, I didn't think that SAE would have sent me a 1999 copy.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 21, 2015 - 8:48 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
This was in my latest batch of three - and it's got a 1999 date on it. I wouldn't even have thought that that was odd if I hadn't read the previous comments on this thread. Anyway, one of the great things about not being a "nutty" collector and being continually disappointed or otherwise at what pending releases actually turn out to be, is that I can't even remember the multitude of great stuff that's already out and decide to pick up on a whim. So there I was thinking "Hugo Friedhofer was a damn fine composer. Oh, BROKEN ARROW? That'll probably be good." So I got it.
And it arrived yesterday. What a great batch of three! Lezzie's BLACK SUNDAY, Lalo's pants, and Hugo's absolutely great BROKEN ARROW! An extraordinarily good score. I think this is the only Brigham Young release in my collection. Reading the booklet is in itself an education. Loved all those references to how Friedhofer considered himself in the Hollywood industry, and how others saw him. Great stories too numerous to mention here. One of the things which I think always attracted me to Friedhofer's music in general was his avoidance of schmaltz. So his music could be quite heartbreakingly beautiful, but it always seemed to keep an intellectual head on it.
Great music for BROKEN ARROW. This is just after one listen, so I'll probably add more gibberish as I give it multiple respins. Written in 1949. That's pretty amazing for a Hollywood western. Love all those chromatic advances. Friedhofer himself likened some of it to Hindemith, and that's fine by me. All I know is I like this score, and am glad to see that there are probably still about twenty (maybe fifty? 100?) Hugo releases out there which I'd be happy to hear, along with all the stuff by Les Baxter which I "forgot" is still available, and a lorra lorra Lalo which I didn't even know was out.
BROKEN ARROW - Hugo Friedhofer - Great!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
There are 4 episodes from the black-and-white 1st season of VOYAGE TO THE BOTTOM OF THE SEA which had music written for them by Hugo Friedhofer.
Don't know how you feel about Irwin Allen's TV shows, Graham, but, if you get any opportunity to view these, I think you'd love those scores too.
1. The Mist of Silence by Friedhofer
2. Turn Back The Clock by Friedhofer
3. The Fear-Makers by Friedhofer, co-composed with Alexander Courage
4. The Price Of Doom by Friedhofer & Courage
http://www.vttbots.com/episode_central.html
As with White Feather above, there's no soundtrack album of this music so you can only hear them by watching the segments.
|
|
|
|
|
|
|
|
|
Posted: |
Nov 21, 2015 - 1:37 PM
|
|
|
|
By: |
Graham Watt
(Member)
|
Zardoz, I don't know if I should be proud or ashamed of my lack of soundtrack nuttiness, but I must admit once more (and I'm making a lot of admissions recently) that I'm not too bothered about having missed those Voyage to Irwin Allen's Bottom episodes. I'm sure they're good scores, and I might have a look at YouTube (if I can get past the lingerie section) to see if they're there and have a dip in. So many Friedhofer CDs I had forgotten existed, Basil Kirchin experiments in sound to investigate, films to watch, concerts to go to, books to read, mountains to climb, inane postings to make here add nausea (tee hee)... But thanks for reminding me that my "to do" list goes beyond the realms of the infinity of the universe.
finder mentions WHITE FEATHER. I did say earlier that what I saw of it on the Tube (the Main Titles - so much to do!) is awfully like BROKEN ARROW. Having listened again to the CD, I think that FEATHER's title music is "The Lovers" theme from the earlier film. It's a beautiful composition, and I only now noticed how strange its placement seems on the ARROW CD, appearing for the first time about ten minutes from the end. Is there a lot more in WHITE FEATHER beyond the ARROW borrowings? I imagine so - Friedhofer claimed it to be his favourite "Indian" score - that one, and not BROKEN ARROW.
BROKEN ARROW obviously doesn't eschew the sound we associate with films about Indians (I know - politically incorrect shorthand, no offense intended), but Friedhofer seemed to have a more psychological approach to things in general, and although it "sounds" like a score for a western up to a certain point, the one it actually continually reminded me of was BETWEEN HEAVEN AND HELL.
Intrigued by the liner notes and their references to THE LODGER, I You-Tubed THE LODGER because Friedhofer himself specifically cited that score as his overt nod to Paul Hindemith. Blimey! It sounds like André Previn! Which all dovetails inconveniently back to that thread we had here about Previn, John Williams and their connecting tissues.
So much to learn and experience.
|
|
|
|
|
|
|
Z
finder mentions WHITE FEATHER. I did say earlier that what I saw of it on the Tube (the Main Titles - so much to do!) is awfully like BROKEN ARROW. Having listened again to the CD, I think that FEATHER's title music is "The Lovers" theme from the earlier film. It's a beautiful composition, and I only now noticed how strange its placement seems on the ARROW CD, appearing for the first time about ten minutes from the end. Is there a lot more in WHITE FEATHER beyond the ARROW borrowings? I imagine so - Friedhofer claimed it to be his favourite "Indian" score - that one, and not BROKEN ARROW.
I half-recall in the Darrow interview that Friedhofer said that WHITE FEATHER is "based on" the BROKEN ARROW music, or a continuation of it, or some-such similar.
I'd love to see the film, too.
|
|
|
|
|
|
|
|
|
Posted: |
Nov 22, 2015 - 6:08 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
Z
finder mentions WHITE FEATHER. I did say earlier that what I saw of it on the Tube (the Main Titles - so much to do!) is awfully like BROKEN ARROW. Having listened again to the CD, I think that FEATHER's title music is "The Lovers" theme from the earlier film. It's a beautiful composition, and I only now noticed how strange its placement seems on the ARROW CD, appearing for the first time about ten minutes from the end. Is there a lot more in WHITE FEATHER beyond the ARROW borrowings? I imagine so - Friedhofer claimed it to be his favourite "Indian" score - that one, and not BROKEN ARROW.
I half-recall in the Darrow interview that Friedhofer said that WHITE FEATHER is "based on" the BROKEN ARROW music, or a continuation of it, or some-such similar.
I'd love to see the film, too.
Actually David, both films share at least one theme, note for note. In the BROKEN ARROW booklet, William Rosar quotes Friedhofer from a 1977 telephone interview, where he said that WHITE FEATHER was his favourite "Indian" score, even though it reused music from BROKEN ARROW. I've just checked YouTube, and it is indeed "The Lovers" on the Brigham Young CD, starting part-way through Track 20.
One of the problems with giving YouTube links is that they very often don't work in all countries, but I hope you can see the following -
BROKEN ARROW - Starts about 1:20:30
https://www.youtube.com/watch?v=VOeQaX4kLec
WHITE FEATHER - Heard as the Main Titles
https://www.youtube.com/watch?v=jHX_GQTWhvU
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Nov 22, 2015 - 9:41 AM
|
|
|
|
By: |
finder4545
(Member)
|
Graham, obviously your interesting observations pushes into the general matter of the use, re-use and function of film music in different movies, to give different (or similar) results in different (or similar) contexts.
There are tons of examples and only to give an idea I recall the Nino Rota’s theme for the modest 1958 “Fortunella” projected in the international space with a re-use of the same exact notes for the famous 1972 “Godfather”; to not mention the well known “Kubrick operation” giving to classical composition new aspects in the cinema dimension. But, yes, there is an assonance in the two Friedhofer’s Arrow and Feather, due to the similar subject and the personal treatment of Friedhofer with his own language, but the score of Feather has long lines of music, over 40 minutes, and is much more than the single theme you pointed out. I think someone in the club of Intrada-Kritzerland-LaLa Land is interested in releasing this work composed in great ispiration by Friedhofer.
|
|
|
|
|
|
|
|
|
|
Zardoz, I don't know if I should be proud or ashamed of my lack of soundtrack nuttiness, but I must admit once more (and I'm making a lot of admissions recently) that I'm not too bothered about having missed those Voyage to Irwin Allen's Bottom episodes. I'm sure they're good scores, and I might have a look at YouTube (if I can get past the lingerie section) to see if they're there and have a dip in.
To be sure, we can't watch everything ... and we certainly don't like everything, either.
Nevertheless, Graham, if Friedhofer's Voyage music was tracked into the original Star Trek, then you'd probably be stating how bloody-brilliant it is. 
Interesting that Graham goes 'gaga' over spotting stock music in episodes of The Twilight Zone whilst ignoring TV shows by Irwin Allen.
Does the quality of the program predispose you towards liking the music? If you don't care for a television show does this necessarily imply that you won't care for its music?
|
|
|
|
|
|
|
|
|
Posted: |
Nov 23, 2015 - 1:08 PM
|
|
|
|
By: |
Graham Watt
(Member)
|
Zardoz, I don't know if I should be proud or ashamed of my lack of soundtrack nuttiness, but I must admit once more (and I'm making a lot of admissions recently) that I'm not too bothered about having missed those Voyage to Irwin Allen's Bottom episodes. I'm sure they're good scores, and I might have a look at YouTube (if I can get past the lingerie section) to see if they're there and have a dip in.
To be sure, we can't watch everything ... and we certainly don't like everything, either.
Nevertheless, Graham, if Friedhofer's Voyage music was tracked into the original Star Trek, then you'd probably be stating how bloody-brilliant it is.
Interesting that Graham goes 'gaga' over spotting stock music in episodes of The Twilight Zone whilst ignoring TV shows by Irwin Allen.
Does the quality of the program predispose you towards liking the music? If you don't care for a television show does this necessarily imply that you won't care for its music?
I actually never watched "Voyage to the Bottom of the Sea", but I imagine the music would be good, especially from people like Friedhofer. I have "The Time Tunnel" CD with the John Williams score coupled with the George Duning one. The Duning is a favourite of mine. Never saw the show. I dithered about getting the new "Lost in Space" box set, but I did see a lot of that series and, although there are great composers in the set, the silliness of the later episodes are holding me back from getting it, if that silliness is reflected in the music. I think I'd rather get the "Mission Impossible" set - a show I never actually watched!
So there aren't really any rules. I'm not really a huge fan of western films either, but I had a gut reaction that I'd like BROKEN ARROW before having heard a note of it. These things happen when you've been following your nose all your life.
Still, there is a half-truth in your last question, Zardoz, or at least in my answer to it - I don't generally like dramatic scores used in comedy films for instance (AIRPLANE), and I'd be surprised to find myself going gaga over any score to the latest romantic comedy hit, no matter how great the music. So yes, I am kind of "predisposed" one way or the other. Aren't we all to a certain degree?
I am flawed and must now self-destruct.
|
|
|
|
|
|
|
I actually never watched "Voyage to the Bottom of the Sea", but I imagine the music would be good, especially from people like Friedhofer. I have "The Time Tunnel" CD with the John Williams score coupled with the George Duning one. The Duning is a favourite of mine. Never saw the show. I dithered about getting the new "Lost in Space" box set, but I did see a lot of that series and, although there are great composers in the set, the silliness of the later episodes are holding me back from getting it, if that silliness is reflected in the music. I think I'd rather get the "Mission Impossible" set - a show I never actually watched!
Never watched Voyage and never saw Mission: Impossible? (I thought you loved the 1960s, Graham.  )
That 'silliness' you mention occurred throughout many TV shows, especially between 1966 & 1968.
Notice how television productions -which started in black-and-white during the 1964/'65 season tended to take themselves more seriously and reflect Cold War aesthetics - became sillier when transitioning to color during 1965/'66 and the immediate years following. Think of The Man from U.N.C.L.E., for example.
Voyage to the Bottom of the Sea falls into this category, too. Its first season had some of the personnel from The Outer Limits creating tales of international espionage and sci-fi threats. [directors who worked on Voyage after the first season of OL included Leonard Horn, James Goldstone, Laslo Benedek, Gerd Oswald, etc ... and Harlan Ellison wrote a script, too]. I think you would like the early segments of Voyage if ever you are able to watch them.
|
|
|
|
|
|
|
|
|
|
Posted: |
Nov 24, 2015 - 2:01 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
Never watched Voyage and never saw Mission: Impossible? (I thought you loved the 1960s, Graham. )
Yeah, weird, innit? In the UK all the Irwin Allen shows were originally broadcast by regional TV, and Scottish Telly had very odd scheduling. I remember "Land of the Giants" quite well, and "Lost in Space", but not much of "Voyage." The underwater setting put me off even as a kid. Things move so slowly under water!
"Mission Impossible" is one that I knew because it was repeated a lot on the Beeb during my formative years. So I "saw" it, but didn't actively "watch" it.
So I DO love the '60s, but it's more from soaking in the general feel of the (in this case) TV/ films/ music rather than with anything too specific. Well, maybe "Star Trek." And Hammer films.
And I'm not TOO obsessive nowadays about following up on everything which might or might not be great. How do I relate this back to BROKEN ARROW? It's funny, but I could very easily have just passed it by. As I mentioned before (I think), it was time for my once-every-three-months splurging of money on three film score CDs, so I had a look at the catalogue, ruled out about a hundred things which I still "would like to have", saw BROKEN ARROW had been out for sixteen years, remembered that I absolutely love ONE-EYED JACKS and Friedhofer's "psychological" scoring in general for even seemingly routine material, bought it, heard it, and liked it very much.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
