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The problem with Rosenman is he can't go for more than 8 bars without going back to that darned "tone pyramid" thingy.
.
brm
...... do you even know what a tone pyramid is, could you analyze or construct one?
.
Its that big thingy in Egypt, right?
I would need a few thousand slaves to construct one, unfortunatley
brm
btw if i know so little about music, why the ef do you care what i think?
Huh?
huh?
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Barry and Herrmann have a large variety of stylistic devices plus unique approaches to orchestration
.... GTFO of my thread.
.
"Your" thread?
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Don't feed the troll, folks.
Anyone know where Rosenman got his alarm call figures from - the way muted trumpets, strings and winds tap out Morse Code rhythms as one by one they build a chord out of Major 7ths and Minor 9ths - like when Donald Pleasence gets engulfed by a white corpuscle?
Monsieur Shark, those Stockhausen pieces you mentioned were indeed the ones I was thinking of.
As for the chattering figures here, these are definitely things that have been trademarks of Rosenman's work from early on - things like that appear in his early piano works, and of course, later in scores like "Star Trek IV," and his second Violin Concerto. As for its direct antecedent, I can't readily think of anything, but it certainly would have been a device another composer would have utilized - I know Rosenman was (in addition to the serialists and the Second Viennese, and other contemporary composers) a tremendous admirer of Sibelius, though I can't think of anything in his works that used a similar device - then again, except for "Finlandia" and his Second Symphony, I haven't listened much to him recently, either.
Part of Rosenman's jagged rhythmic work definitely owes to Schönberg (for some reason, his piano works in particular evoke Rosenman's sensibility to me - especially his "Suite for Piano," Op. 25.) You can also hear certain orchestration ideas in Roger Sessions' "Divertimento for Orchestra" (particularly the "Perpetuum Mobile" movement, with its Xylophone doubling on accented repeated notes) that paved the way for elements of "Fantastic." Of course, none of this really answers your initial question.
Speaking of Alban Berg (whose influence on Goldsmith was certainly profound, too) - I can also hear a bit of the second movement of the "Lyric Suite" (a work that Rosenman loved) in Bronislau Kaper's "Ant Fugue" from "Them!"
Tangentially Rosenman related, but given their friendship and the time he studied with him, it's not totally out of the blue: have you spent much time with Dallapiccola's opera "Ulysse"? I've not listened to it for some time, and just put it on an hour or so ago, and I'd forgotten how astonishing some of the writing is.
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Don't feed the troll, folks.
?
Hey man!
I've been published!*
brm
*this catchphrase is inspired by Andy Kaufman' brIlliant anti-hollywood satire I'M FROM HOLLYWOOD.
When the crowd of wrestling fans starts booing Andy - after he insults them - he screams back " Hey! I'm From Hollywood!"
Pure genius
check it out!
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Thanks for those links to Bruno Maderna, Mr Row. I imagine that Leonard Rosenman was steeped in that kind of writing, and again we have "the Italian connection".
It's funny, but the more I learn, the less I seem to know. I used to think that film composers lived in a vacuum and created all those crazy soundtracks out of the blue. When it began to dawn on me that people such as Rosenman, Goldsmith and Fielding (for example) would often do a fair bit of "channeling", I was disappointed at first. Now that I have a slightly better idea of the wider picture, I'm finding that I'm appreciating everything even more than before, because it's got a kind of history-of-the-world perspective to it and is all intertwined and connected to things outside my 10-year-old SF film mentality in an endlessly fascinating way.
I really feel like listening to FANTASTIC VOYAGE again right now. A great score all the way.
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If you can't get the original score, you might aproach the Robert-Schumann-Hochschule Düsseldorf, Germany. EDEL recorded a 6 1/2 minute suite in the 1990s and I think the copies of the score went to the archive of that university upon the death of the producer, Thomas Karban. I'm not exactly sure if he kept a copy of that particular score for himself, but he did keep a lot of the scores he got recorded.
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Posted: |
Jun 18, 2013 - 6:27 AM
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By: |
ToneRow
(Member)
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Thanks for those links to Bruno Maderna, Mr Row. I imagine that Leonard Rosenman was steeped in that kind of writing, and again we have "the Italian connection".
You're welcome, Graham.
That Italian connection you refer is also what I think.
Rosenman not only studied with Luigi Dallapiccola but also conducted contemporary classical music concerts - which is excatly what Bruno Maderna did as well besides being a composer.
Because of this, I seem to detect an Italianate lyricism with Rosenman's film scores, which are not as "dry" or as "academic" as concert works by other serialists (like Roberto Gerhard - one of my faves).
Interestingly, the contemporary classical piece which reminded me of FANTASTIC VOYAGE when I first heard it is Maurice Ohana's T'haran-ngo (which was written in 1974 - after FV!).
Unfortunately, Ohana's T'haran-ngo is not uploaded onto YouTube, but, for those interested, it is available on the French Timpani label:
Here's a few more selections:
Three Questions with Two Answers by Dallapiccola
http://www.youtube.com/watch?v=gN5r6Mmdwv0&feature=player_detailpage
Epithalamion by Roberto Gerhard
http://www.youtube.com/watch?v=n1WDhp_emw8&feature=player_detailpage
(this concert piece was culled from music Gerhard had written for THIS SPORTING LIFE)
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) 
