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David in Berkeley, I can confirm that Hans J. Salter was Raksin's guest on two occasions.
James, could you email me? Please use my screen name here, at Yahoo. Thanks.
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I know he interviewed a number of notable film composers about film music and also played excerpts from their film scores. I just listened to an episode on Hugo Friedhofer which I found here: https://hugofriedhofer.dudaone.com/interview-with-hugo-friedhofer - fascinating!
Listening to this program (thanks for posting the link!), I hear something in Friedhofer's voice. It's a nasal tone that makes me think he was using oxygen. I wouldn't be surprised, since he was a long-time smoker.
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David in Berkeley, just re-reading your list of guests on Raksin's programme, notice that another one you're missing is Aaron Copland, no less, who did a single episode.
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David in Berkeley, just re-reading your list of guests on Raksin's programme, notice that another one you're missing is Aaron Copland, no less, who did a single episode.
I can only possibly barely remember Raksin introducing a re-recording of one of THE QUIET CITY. I don't remember any of the interview, which is too bad.
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David in Berkeley, just re-reading your list of guests on Raksin's programme, notice that another one you're missing is Aaron Copland, no less, who did a single episode.
I can only possibly barely remember Raksin introducing a re-recording of one of THE QUIET CITY. I don't remember any of the interview, which is too bad.
Or maybe there was no interview. Very possible.
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Oh, there definitely was one. Re-reading Raksin's autobiography on Kindle, he mentions it and that's what reminded me. I have it on tape, somewhere - wish I could find it! The phrase I remember most is the pair of them having a chuckle about, "If it's in the music, it's in the man..."
James.
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Oh, there definitely was one. Re-reading Raksin's autobiography on Kindle, he mentions it and that's what reminded me. I have it on tape, somewhere - wish I could find it! The phrase I remember most is the pair of them having a chuckle about, "If it's in the music, it's in the man..."
James.
Really, truly? I can often recall the person's voice, but I'm not recalling Copland's. Perhaps he didn't sound as interesting as Kaper and Rozsa and such.
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I'm surprised I don't recall a Grusin. He did know him, but maybe not at the time he recorded the series.
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I'm surprised I don't recall a Grusin.
Or Johnny Mandel.
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I'm surprised I don't recall a Grusin.
Or Johnny Mandel.
Or Victor Young.
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David in Berkeley, just re-reading your list of guests on Raksin's programme, notice that another one you're missing is Aaron Copland, no less, who did a single episode.
Have to correct myself - Copland was on the show for TWO episodes. A collector friend managed to locate his cassette and kindly sent me a CDR of both programmes. Actually, Raksin does most of the talking, and on interview number two there's very little input from Copland. The suites from The Red Pony and "Music For a Great City" are played in their entirety and thus make up most of the running time.
James.
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Hi, I'm back. I taped lot of them, but all this time later I can't lay my hands on them. Motivation for major spring cleaning!
That was LAST spring, Prez. Did you find them?
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Actually, Raksin does most of the talking, and on interview number two there's very little input from Copland.
James.
Maybe this is why I remember nothing of the interview.
Thanks for digging it all up, Jaz!
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Hi, I'm back. I taped lot of them, but all this time later I can't lay my hands on them. Motivation for major spring cleaning!
Hey, Preston. How did that motivation go? Have you found anything since this post?
Two David's long to know!
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Williams's best work in the 60s and early 70s, generally, was for tv. For films he scored a lot of comedies and B-movies. The Reivers really opened doors for him. So, depending on when Raksin's shows ran, it may not have been surprising that Williams was not included.
Seems to me that the 3-year period of this radio program was either 1977 + '78 + '79 or 1978 + '79 + '80.
Maybe, also, these were done like television seasons from September through May/June?
So could be Fall of 1977 through June '78, then a summer break, then '78/'79 ... ending with '79/'80?
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Bump. It would be awesome to hear more episodes of this.
I contacted the Library of Congress about these over the summer, hoping to help with some research. They're answer was wonderfully thorough about how one might go about getting access.
_____________________________________________
The Library's Recorded Sound Collection does indeed hold the recordings of David Raksin's broadcasts of "The subject is film music," which includes an interview with Jerry Goldsmith.
Obtaining a copy would involve having permission from any rights holders. Since these programs used excerpts from commercial sound recordings, you would need permission from the record companies. So, if a Columbia or RCA Victor recording was used, the written permission of Sony Music Entertainment would be required. Decca would require permission from Universal Music Group, etc.be Universal Music Group, etc.
The problem presented here is that in order to ascertain exactly what recordings were used, one would have to listen to the episode in advance. Since listening only takes place onsite in the Recorded Sound Research Center, either you, a colleague, or a hired researcher would have to come in and listen.
There may be other rights holders as well, such as the Jerry Goldsmith Estate, and perhaps the Raksin Estate. We will need to examine the acquisition papers for this collection to make some of these determinizations.
It would also be helpful for us to know exactly the nature of the project you are working on, and how you would use the recordings.
Regarding costs --
Copies of recordings in the collections of the Library of Congress are made in the Library's Recording Laboratory which charges $126.00 per hour of the engineer's time to make the transfers. Charges vary according to source material. We can deliver files to customers using Signiant Media Transfer service. This service allows users to securely download files to a computer's desktop after an email notification. Charges are made in 15-minute increments with a 30-minute minimum, and the transfers are made in real time.
_____________________________________________
Now I really hope Preston digs up his tapes and digitizes them for posterity (and maybe us), otherwise it's $504-$1008 per favorite composer.
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An enterprising sort might ask the LOC if they can transfer only the voice portions, not the music. Raksin pretty much always used the commercial recordings, and identified them very clearly (conductor, orchestra, etc.)
This might simplify the rights/signature process.
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