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From the Terrace (1960)
Music by Elmer Bernstein
From the Terrace From the Terrace
Click to enlarge images.
Price: $9.95
Limited #: 3000
View CD Page at SAE Store
Line: Golden Age
CD Release: December 2000
Catalog #: Vol. 3, No. 8
# of Discs: 1

From the Terrace is both a romance and one man's struggle between society's expectations and his own conscience. Director Mark Robson's widescreen canvas and the film's intimate settings meant that the scale of Elmer Bernstein's score had to be subdued to match—he spoke to the undercurrent of emotion running through the main character of Paul Newman without overwhelming the movie. Bernstein's score opens boldly with a soaring and deeply passionate love theme—which consequently disappears from the lengthy film, only to resurface halfway into the movie, when Newman's character of Alfred Eaton begins a love affair with Natalie Benzinger (Ina Balin). The score grows in complexity with a strained waltz theme that underscores Newman's misguided dalliance with a sexy, manipulative socialite Mary St. John (Joanne Woodward).

Bernstein's score is varied and rich, marking a middle ground between the lush soap operatics of the Golden Age and the leaner, modernistic style of the '60s. The composer wrote bustling, rhythmic traveling music that evolved into a bright and bucolic treatment of the protagonist's return from the war; impressionistic and haunting dramatic underscoring of his family's internal squabbling; stacatto, agitated accompaniment for confrontation with his mother's lover; and bold action music. Between the dark, brooding mood, Bernstein opens the score up with a taste of his distinctive Americana brass sound and a brash fanfare for Wall Street.

Bernstein is unequaled in his instincts and taste when it comes to concluding a score—he has written some of the most sublime musical finales ever to be heard in films, and From the Terrace's concluding chords belong in the company of such other Bernstein finales as To Kill a Mockingbird and The Ten Commandments. Of particular note is the vaulting, propulsive moment that occurs as Newman rushes to embrace Balin near the end of the film. Bernstein's score is timeless and he was actually able to apply a similar approach to Martin Scorsese's period adaptation of The Age of Innocence more than 30 years later.

FSM presents From the Terrace in its entirety, for the first time ever—more than 70 minutes of richly melodic and elegant music by a master of dramatic film scoring—in stereo!

Elmer Bernstein Scores on FSM
About the Composer

Elmer Bernstein (1922–2004) had a Hollywood career that lasted over a half a century; invented and reinvented himself as a composer across several genres (jazz, epics, westerns, comedies and adult dramas); and scored more than a few Hollywood classics—The Ten Commandments, The Magnificent Seven, To Kill a Mockingbird, The Great Escape and Airplane! to name but five. FSM has released a dozen of his scores and counting, but the most popular may be Heavy Metal (1981)—don't be fooled by the title, it's Elmer's "Star Wars." In addition to his prolific work as a composer, Bernstein was a tireless champion of film music as an art form, serving on the boards of several professional organizations and in the 1970s recording his own LP series of classic Hollywood scores, Elmer Bernstein's Film Music Collection, released by FSM as a 12-CD box set. IMDB

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Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Elmer Bernstein

Violin:
Sol Babitz, Israel Baker, George Berres, Joachim Chassman, Kurt Dieterle, Adolph DiTullio, Sam Freed, Jr., Nathan Kaproff, Louis Kaufman, Marvin Limonick, Paul Lowenkron, Lewis Main, Jr., Irma W. Neumann, Lou Raderman, Juan A. Rostagno, David Selmont, Marshall Sosson, Heimann Weinstine

Viola:
Myer Bello, Alvin Dinkin, Maxine Johnson, Virginia Majewski, Alex Neiman, Robert Ostrowsky, Sven Reher, Sanford Schonbach

Cello:
Margaret Aue-Van Wyck, Joseph Coppin, Joseph DiTullio, Justin DiTullio, Ossip Giskin, Armand Kaproff, Raphael "Ray" Kramer, Kurt Reher, Nino Rosso

Bass:
Abraham Luboff, Meyer (Mike) Rubin

Flute:
Arthur Hoberman, Luella Howard, Archie Wade

Oboe:
William Kosinski, Gordon Pope

Clarinet:
Russell Cheever, Charles Gentry, Abe Most, William A. Ulyate

Bassoon:
Don Christlieb, Ray Nowlin

French Horn:
John W. "Jack" Cave, Vincent N. DeRosa, Fred Fox, William A. Hinshaw, Harry Schmidt

Trumpet:
Frank Beach, John Clyman, Robert Fowler

Trombone:
Richard "Dick" Nash

Tuba:
Clarence Karella

Piano:
James G. Rowles, Urban Thielmann, Raymond Turner

Guitar:
Vito Mumolo

Mandolin:
Dario Bonetti, Max Gralnick

Harp:
Stanley Chaloupka, Kathryn M. Thompson Penney

Percussion:
Ralph Collier, Richard Cornell, Harold L. "Hal" Rees

Arranger:
Ed Powell

Copyist:
Wally Heglin, Elton A. Koehler, Jack McTaggart, Ernest Rosecrans, Paul Sprosty, Harry Stone

Librarian:
Fred Combattente

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