Podcasts about miklos rozsa

This week we psychoanalyze Spellbound, Hitchcock's 1945 film noir mystery dominated by Freudian psychotherapy. Gregory Peck plays an amnesiac doctor and psychiatrist Ingrid Bergman races to unlock his past as z murder investigation threatens to derail his progress.***SPOILER ALERT*** We do talk about this movie in its entirety, so if you plan on watching it, we suggest you watch it before listening to our takes.A Selznick International Picture. Directed by Alfred Hitchcock. Produced by David O. Selznick. Written by Angus MacPhail, based on the novel The House of Dr. Edwardes by Hilary Saint George Saunders and Francis Beeding. Starring Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll, Norman Lloyd.. Cinematography by George Barnes. Music by Miklos Rozsa.Ranking: 18 out of 52. Ranking movies is a reductive parlor game. It's also fun. And it's a good way to frame a discussion. We aggregated over 70 ranked lists from critics, fans, and magazines Spellbound got 1,989 ranking points.

Welcome to the At The Flicks archive. This one is a real blast from the past!  Recently Graham was rummaging around in the At The Flicks vault and fell over some old recording cans that had been left on the floor.  Luckily Graham had been drinking that day, or he might have swerved passed them by and this show would still be sitting there! After swearing and moaning about his now sore leg, Graham checked the cans and realised it was an unreleased edition of our very popular Rediscovering the classic with Elijah series.  It is our discussion about the classic historical epic El Cid (1961). Apart from Jeff and Graham, the team for this episode comprised, of course Elijah, and a voice we miss on the show.  Neil. For those of you not familiar with the film, it stars Charlton Heston and Sophia Loren and is a bio pic about legendary Spanish hero Rodrigo Diaz de Vivar (aka El Cid), a knight who lived in the 11th Century.  Normally it is Elijah who is discovering the film for the first time.  Not here, this time it's Jeff and Graham who are seeing it with fresh eyes for the first time (although both have seen it before – don't worry it's all explained in the show). Other things discussed in this podcast: - Why the main stars didn't like each other - What film director Anthony Mann got fired from just before this (and also Jeff initially getting his facts wrong) - Miklos Rozsa's score and the use of trumpets - Herbert Lom not being politically correct  - Correlation to Dune It's fascinating to hear the old team back together again.  Who knows, there may be more life in rediscovering the classics to come. Until then bye for now and see you At The Flicks.

Llegamos al programa número 100 de nuestro podcast, y no podíamos elegir un tema más especial que el de una figura que ha dejado una huella imborrable en la historia de la humanidad: Jesús de Nazaret. Más allá de su dimensión religiosa, su vida y mensaje han influido profundamente en la cultura, la filosofía, el arte y la forma en que entendemos conceptos como la compasión, la justicia y el amor al prójimo. Hoy, exploraremos su figura historica, a la luz de las fuentes historiográficas que nos han llegado sobre él y que han sido investigadas y tratadas como ninguna otra, tratando de discernir al Jesús histórico de su figura como mito religioso. En este episodio especial, haremos un viaje por las diferentes fuentes que rodean a Jesús: desde los evangelios que lo presentan como el Mesías, hasta los escritos no cristianos. Para responder a estas preguntas contamos con Eugenio Gómez Segura, licenciado en Filología Clásica y autor de numerosos libros, reconocido como uno de los mayores expertos en este campo. Este episodio especial es una invitación a explorar, con rigor y profundidad, la figura histórica de Jesús de Nazaret. Música: BSO de Ben Hur de Miklos Rozsa.

Dana and Tom with returning guest, Peterson W. Hill (Co-Host of the War Starts at Midnight podcast), and new guest, Kristin Battestella (Critic for In Session Film, Search Magazine, and Keith Loves Movies) discuss the epic Best Picture Winner Ben-Hur (1959) for its 65th anniversary: directed by William Wyler, written by Karl Tunberg, music by Miklos Rozsa, starring Charleton Heston, Jack Hawkins, Haya Harareet, and Stephen Boyd.Plot Summary: In an ancient world, nobleman Judah Ben-Hur is betrayed by his friend Messala, a Roman officer, and is cast into slavery. Judah endures brutal hardships, fueled by a burning desire for vengeance. He rises through sheer will and becomes a skilled charioteer, aided by Sheik Ilderim and his magnificent horses.In a climactic race, Judah defeats Messala, reclaiming his honor. Along his journey, he encounters the Nazarene, whose teachings of love and forgiveness transform Judah's quest from one of retribution to spiritual awakening. Thus, Judah's tale becomes a timeless legend of courage, redemption, and grace.Chapters:00:00 Welcome and Guest Introductions01:45 Getting to Know - Kristin Battestella04:19 Cast and Recognition for Ben-Hur08:11 Relationship(s) with Ben-Hur17:20 What is Ben-Hur About?25:29 Oscar Legacy and Cultural Impact29:27 Plot Summary for Ben-Hur30:29 Did You Know?32:40 First Break33:28 What's Up with Kristin and Peterson35:02 Ask Dana Anything36:47 Best Performance(s)53:38 Best/Favorite/Indelible Scene(s)01:02:27 Second Break01:03:21 In Memoriam01:04:48 Best/Funniest Lines01:08:11 The Stanley Rubric - Legacy01:16:57 The Stanley Rubric - Impact/Significance01:19:34 The Stanley Rubric - Novelty01:22:45 The Stanley Rubric - Classicness01:28:15 The Stanley Rubric - Rewatchability01:38:07 The Stanley Rubric - Audience Score and Final Total01:39:22 Remaining Questions for Ben-Hur01:46:50 Thank You to Our Guests01:51:18 CreditsYou can also get this episode in full video on YouTube: https://youtu.be/c99i7UBy9KoYou can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/ben-hur-1959-ft-peterson-w-hill-and-kristin-battestellaFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com//post/greatest-movie-of-all-time-listKeywords:Ben-Hur, film analysis, cinematic techniques, character analysis, cultural impact, rewatchability, legacy, themes, performances, directionRonny Duncan Studios

Bigas, lanças, remos, monumentos enormes, garanhões, paixão, suor, calor, uma amizade conturbada movida a testosterona… não é o que você está pensando — ou talvez seja! No mês do Orgulho Gay, falamos da magnífica, superlativa, vitaminada trilha de Miklós Rósza para o clássico de William Wyler que não ousa dizer a Charlton Heston seu nome: Ben-Hur!

Music for film reflecting cinema's engagement with the idea of an over populated planet prompted by the release this week of Chie Hayakawa's Japanese feature, 'Plan 75', with a score by Jeremie Archache and Christophe Musset. The programme also includes music from 'Inferno' by Hans Zimmer, 'Passengers' by Thomas Newman, 'Idiocracy' by Theodore Shapiro, Miklos Rozsa's 'The World, The Flesh and The Devil', Fred Myrow's 'Soylent Green' as well as cues from 'Cloud Atlas', 'Elysium', 'What Happened To Monday' and Craig Armstromg's 'In Time'. Also in the line up is Alan Silvestri's 'Avengers - Infinity War'. The Classic Score of the Week is Jerry Goldsmith's masterly music for 'Logan's Run' from 1976.

Aprovechando que el programa de “Cuéntame un musical” estaba dedicado al musical “& Juliet”, que nos presenta una simpática historia con la pugna entre Shakespeare y su mujer Anne Hathaway para conseguir cambiar el argumento de “Romeo y Julieta”, decidimos montar unas playlists de fragmentos de bandas sonoras de películas, que han tenido las obras del escritor inglés como fuente de inspiración. En este primer programa tendremos las músicas de Angelo Francesco Lavagnino para el “Campanadas a medianoche” y el “Othelo” de Orson Welles, a Carter Burwell y sus temas para “Hamlet” y “Mackbeth”, Elliot Goldenthal con “La tempestad” y “Titus”, Ennio Morricone con Hamlet, Erich Wolfgang Korngold y Felix Mendelsshon para “El sueño de una noche de verano”, Jocelyn Pook con “El mercader de Venecia”, John Scott para “Marco Antonio y Cleopatra”, Masaru Sato para “Trono de sangre” y Miklos Rozsa para “Julio César”. El mes próximo sacaremos un segundo volumen con temas de Patrick Doyle, Toru Takemitsu, Trevor Jones y William Walton. Esperamos haber acertado con la selección 00h 00’00” Presentación 00h 01’07” Cabecera 00h 01’42” ANGELO FRANCESCO LAVAGNINO – Campanadas a medianoche 00h 01’42” Apertura festosa 00h 02’55” Intermezzo agreste 00h 06’03” Corale mistico 00h 09’13” ANGELO FRANCESCO LAVAGNINO – Othelo 00h 09’13” Chant 00h 13’15” The seed of doubt 00h 16’17” The deciver is revealed – The death of Othelo 00h 18’39” CARTER BURWELL – Hamlet 00h 18’39” Too too solid flesh 00h 21’17” Murder most foul 00h 24’28” To be or not to be 00h 27’05” The end 00h 30’24” CARTER BURWELL – La tragedia de Mackbeth 00h 30’24” Birnam wood 00h 32’48” The end of Mackbeth 00h 36’11” ELLIOT GOLDENTHAL – La tempestad 00h 36’11” O mistress mine 00h 39’12” High day too-step 00h 41’12” Full fanthom five 00h 45’18” Brave new world 00h 47’57” ELLIOT GOLDENTHAL - Titus 00h 47’57” Suite 00h 59’36” ENNIO MORRICONE – Hamlet 00h 59’36” Suite 01h 09’35” ERICH W. KORNGOLD / FELIX MENDELSSHON – El sueño de una noche de Verano 01h 09’35” Obertura 01h 16’28” JOCELYN POOK – El Mercader de Venecia 01h 16’28” With wandering steps 01h 18’34” Her gentle spirit 01h 21’24” How sweet the moonlight 01h 25’37” Bridal ballad 01h 30’08” JOHN SCOTT – Marco Antonio y Cleopatra 01h 30’08” Overture 01h 39’23” Main titles 01h 43’00” Egyptian bacchanal 01h 46’55” Eternal rest 01h 48’52” MASARU SATO – Trono de sangre (Mackbeth) 01h 48’52” Main theme 01h 52’41” MIKLOS ROZSA – Julio César 01h 52’41” Overture 01h 55’44” Prelude – Idle creatures 01h 58’40” Titanus enclosed – Caesar revenged- Caesar, now be still- Rites of burial - Finale

Compositor húngaro nacido en Budapest. En los treinta hubo una profesionalización de la música en el cine con Erich Korngold y Max Steiner como máximos exponentes. Luego llegaron célebres compositores como Frank Waxman, Dimitri Tiomkin o nuestro invitado de hoy Miklos Rozsa. Su gran trabajo como artesano, investigando en como adaptar la música de forma dramática en las películas, le llevó a ser un referente del cine de aventuras y sobre todo del épico, consiguiendo marcar un estilo imitado hasta hoy día. Durante algo más de tres horas, te contamos toda su vida y escucharás treinta y un temas inolvidables, todos ellos emblemáticos. Ben-Hur o El Cid, son algunas de sus magníficas bandas sonoras, en una vida repleta de éxitos, donde le contemplan tres Oscar. Además tendremos a Nacho Granda el especialista en bandas sonoras y ex-director del extinto programa Scores de cine, que nos hablará curiosidades y anécdotas de este gran compositor y nos recomendará sus cuatro composiciones favoritas. +Info: www.masqcine.com twitter: @masquecine2 telegram: @masquecineradio facebook: @masquecine mail: info@masqcine.com Canal Scores de cine (Nacho Granda): https://www.ivoox.com/podcast-podcast-scoresdecine-musica-cine_sq_f1157884_1.html Playlist del programa: https: https://music.youtube.com/playlist?list=PLKuVCYpv1hsT0KgtfXFDofMh0ZLyo7Wfi&;feature=share Libro -AISLADOS EN EL CINE- Primer libro, editado por Terra Ignota, escrito por Pepe Dana y Javier Pérez-vico, ya está disponible en: www.riffraff.es ¿CUÁLES SON LOS BALUARTES DE ESTE LIBRO ? Tratar la obra con nostalgia indagando en nuestra niñez y juventud, recordando estas maravillosas obras de las que hablamos en el libro. ¿CÓMO ABORDAMOS LAS PELÍCULAS ? Agrupándolas en cuatro categorías, o capítulos, en las que el nexo de unión es la soledad, la religión, la exclusión social y la enfermedad. En cada grupo encontrarás cintas que tratan estas temáticas de forma concreta y específica. El lector al que le guste el cine en general, encontrará en estos títulos una motivación para acercarse a las obras de nuevo o por primera vez, para conocerlas en profundidad. Se contextualizan, de forma modesta, en base a la motivación que nos llevó a ponerle este título: Aislados en el cine. ¿QUÉ MÁS PODEMOS DESCUBRIR EN ESTE VOLUMEN? Un compendio de momentos inolvidables, arropados por la nostalgia y el recuerdo, certificado por los autores, que además firman sus capítulos de forma muy personal y diferente uno del otro, ofreciendo interesantes aspectos que convierten la obra en algo único. Detalles de la producción, curiosidades y anécdotas de los rodajes o los protagonistas, salpican el libro, rico en matices. En ocasiones nos desviamos del camino para exponer temáticas paralelas que vienen a colación a través de las historias que se nos cuentan: autores de las obras, entorno social, peculiaridades… CAPÍTULOS El libro se divide en cuatro capítulos: Soledad, Religión, Exclusión social y Enfermedad. En cada uno de ellos podrás encontrar cinco películas indispensables de cada tema, analizadas y acompañadas de datos y material gráfico SOLEDAD: – Candilejas – Los puentes de Madison – Primavera tardía – Bailando con lobos – Solas. RELIGIÓN: – Carrie – Él – La semilla del diablo – La palabra – Los chicos del maiz. EXCLUSIÓN SOCIAL: – Yo, Cristina F. – Billy Elliot – Días sin huella – Hugo – El hombre elefante. ENFERMEDAD: – El Resplandor – Bailar en la oscuridad – Memento – Hana-Bi – Psicosis

Compositor húngaro nacido en Budapest. En los treinta hubo una profesionalización de la música en el cine con Erich Korngold y Max Steiner como máximos exponentes. Luego llegaron célebres compositores como Frank Waxman, Dimitri Tiomkin o nuestro invitado de hoy Miklos Rozsa. Su gran trabajo como artesano, investigando en como adaptar la música de forma dramática en las películas, le llevó a ser un referente del cine de aventuras y sobre todo del épico, consiguiendo marcar un estilo imitado hasta hoy día. Durante algo más de tres horas, te contamos toda su vida y escucharás treinta y un temas inolvidables, todos ellos emblemáticos. Ben-Hur o El Cid, son algunas de sus magníficas bandas sonoras, en una vida repleta de éxitos, donde le contemplan tres Oscar. Además tendremos a Nacho Granda el especialista en bandas sonoras y ex-director del extinto programa Scores de cine, que nos hablará curiosidades y anécdotas de este gran compositor y nos recomendará sus cuatro composiciones favoritas. +Info: www.masqcine.com twitter: @masquecine2 telegram: @masquecineradio facebook: @masquecine mail: info@masqcine.com Canal Scores de cine (Nacho Granda): https://www.ivoox.com/podcast-podcast-scoresdecine-musica-cine_sq_f1157884_1.html Playlist del programa: https: https://music.youtube.com/playlist?list=PLKuVCYpv1hsT0KgtfXFDofMh0ZLyo7Wfi&feature=share Libro-AISLADOS EN EL CINE- El gran éxito que está teniendo nuestro primer libro editado por Terra Ignota y escrito por Pepe Dana y Javier Pérez-vico, ya está disponible en: www.riffraff.es ¿Cuáles son los Baluartes de este libro? Tratar la obra con nostalgia indagando en nuestra niñez y juventud, recordando estas maravillosas obras de las que hablamos en el libro. ¿CÓMO ABORDAMOS LAS PELÍCULAS? Agrupándolas en cuatro categorías, o capítulos, en los que el nexo de unión es la soledad, la religión, la exclusión social y la enfermedad. En cada grupo encontrarás cintas que tratan estas temáticas de forma concreta y específica. El lector al que le guste el cine en general, encontrará en estos títulos una motivación para acercarse a las obras de nuevo, o por primera vez, para conocerlas en profundidad. Se contextualizan, de forma modesta, en base a la motivación que nos llevó a ponerle este título: Aislados en el cine. ¿QUÉ MÁS PODEMOS DESCUBRIR EN ESTE VOLUMEN? Un compendio de momentos inolvidables, arropados por la nostalgia y el recuerdo, certificado por los autores, que además firman sus capítulos de forma muy personal y diferente uno del otro, ofreciendo interesantes aspectos que convierten la obra en algo único. Detalles de la producción, curiosidades y anécdotas de los rodajes o los protagonistas, salpican el libro, rico en matices. En ocasiones nos desviamos del camino para exponer temáticas paralelas que vienen a colación a través de las historias que se nos cuentan: autores de las obras, entorno social, peculiaridades… CAPÍTULOS El libro se divide en cuatro capítulos: Soledad, Religión, Exclusión social y Enfermedad. En cada uno de ellos podrás encontrar cinco películas indispensables de cada tema, analizadas y acompañadas de datos y material gráfico SOLEDAD: – Candilejas – Los puentes de Madison – Primavera tardía – Bailando con lobos – Solas. RELIGIÓN: – Carrie – Él – La semilla del diablo – La palabra – Los chicos del maiz. EXCLUSIÓN SOCIAL: – Yo Cristina F. – Billy Elliot – Días sin huella – Hugo – El hombre elefante. ENFERMEDAD: – El Resplandor – Bailar en la oscuridad – Memento – Hana-Bi – Psicosis

It's alive! The Cinematic Sound Radio Podcast Top 10 has been brought back from the dead! The last time I did a show like this was back in 2018 when I presented my Favourite Western Tracks Of All Time. I wanted to make the Top 10 and ongoing series but only a short month later, I went on an 8-month hiatus. I never thought about resurrecting the Top 10 show when I returned, however, I did have one last show planned out, which I found in a playlist in my digital music collection. That was in January and was planning to premiere this show on Valentine's Day but I lost my voice and couldn't record the show in time for the February 14th deadline. Eventually, my voice came back to me and I managed to get this one upload eight days after the Hallmark Holiday. So, welcome back to the Cinematic Sound Radio Podcast Top 10 and I'm looking for suggestions on other Top 10 shows. I'm clear out of ideas right now. Post them in the comments below or send an emial. In the program today, I'm going to play for you my Ten Favourite Love Themes Of All Time and two honourable mentions. You'll hear selections from composers Jerry Goldsmith, Lee Holdridge, John Williams, Miklos Rozsa, Erich Wolfgang Korngold, James Horner, Brian Transeau and more. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Potent —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

"Labordeta, un hombre sin más" es el título del documental que este viernes clausura MUSOC, la Muestra de Cine Social y derechos Humanos. Hoy hablamos con su directora, Paula Labordeta. Recién estrenada la segunda temporada de "Clave de fondo", el programa de entrevistas de TPA, viene a vernos su presentador, el escritor Xuan Bello. Javier García Rodríguez pone bajo su lupa una novedad literaria. No faltan a su paseo de los miércoles la periodista caleyera Aitana Castaño y el experto en toponimia Xulio Concepción. Marta Teijido nos descubre el perfil más clásico de un grande de las bandas sonoras, Miklos Rozsa. Y los oyentes reconocen que no siempre van con el rebaño: ¿te has sentido alguna vez la oveja negra?

"Labordeta, un hombre sin más" es el título del documental que este viernes clausura MUSOC, la Muestra de Cine Social y derechos Humanos. Hoy hablamos con su directora, Paula Labordeta. Recién estrenada la segunda temporada de "Clave de fondo", el programa de entrevistas de TPA, viene a vernos su presentador, el escritor Xuan Bello. Javier García Rodríguez pone bajo su lupa una novedad literaria. No faltan a su paseo de los miércoles la periodista caleyera Aitana Castaño y el experto en toponimia Xulio Concepción. Marta Teijido nos descubre el perfil más clásico de un grande de las bandas sonoras, Miklos Rozsa. Y los oyentes reconocen que no siempre van con el rebaño: ¿te has sentido alguna vez la oveja negra?

"Labordeta, un hombre sin más" es el título del documental que este viernes clausura MUSOC, la Muestra de Cine Social y derechos Humanos. Hoy hablamos con su directora, Paula Labordeta. Recién estrenada la segunda temporada de "Clave de fondo", el programa de entrevistas de TPA, viene a vernos su presentador, el escritor Xuan Bello. Javier García Rodríguez pone bajo su lupa una novedad literaria. No faltan a su paseo de los miércoles la periodista caleyera Aitana Castaño y el experto en toponimia Xulio Concepción. Marta Teijido nos descubre el perfil más clásico de un grande de las bandas sonoras, Miklos Rozsa. Y los oyentes reconocen que no siempre van con el rebaño: ¿te has sentido alguna vez la oveja negra?

durée : 01:25:00 - Les Nuits de France Culture - par : Albane Penaranda - Mardis du cinéma - Miklos Rozsa et la musique de films (1ère diffusion : 29/10/1996)

Episode 88 The Theremin Part 1: From the Beginning to 1970 Playlist Leon Theremin, “Deep Night” (1930 Les Actualités françaises). Soundtrack from a short, early sound film of Leon Theremin playing an RCA production model Theremin. Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “Love (Your Spell is Everywhere)” (1930 Victor). RCA theremin, Zinaida Hanenfeldt; Victor Salon Orchestra conducted by Nathaniel Shilkret. The earliest records made with the Theremin were recorded in 1930 to highlight the release of the RCA Theremin. This was one of the first. This recording session dates from January 17, 1930 and was made in New York at the 28 West 44th St. studio. Billed as a recording of “Orchestra, with theremin soloist,” this was most likely made as a demonstration of the newly introduced RCA Theremin. Seven months later, Lennington Shewell (see next listing) took up making several demonstration records produced by his father, RCA VP G. Dunbar Shewell in the Camden, NJ recording studios. Lennington H. Shewell, “Dancing with Tears in My Eyes” (1930 Victor). Recorced on July 21, 1930, in Camden, NJ Studio 1. Theremin solo, Lennington H. Shewell; piano accompaniment, Edward C. Harsch. Noted as "R.C.A. theremin: Instructions and exercises for playing" and "G. Dunbar Shewell, present." Lennington H. Shewell, “In a Monastery Garden” from “Love Sends A Gift Of Roses” / “In A Monastery Garden” (1935 Victor). Shewell was an American pianist songwriter and Thereminist. He recorded several discs for RCA . Shewell was employed by RCA to travel around the USA demonstrating the Theremin as part of its marketing campaign. His father was George Dunbar Shewell, who was a vice-president of RCA for a time. Clara Rockmore, “The Swan” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Rockmore, of course, was the key master of the Theremin back in the 1930s and 40s, having originally learned from Leon Theremin himself. These recordings were later produced by the Moogs in the 1970s and feature some dazzling, virtuoso performances by Rockmore as she interprets many of her favorite classical works. “The Swan” was composed in by Camille Saint-Saëns (1983-1921) that was usually a showcase for a cellist and, with Rockmore's brilliant interpretation, became a much-loved work by Thereminists. Even Samuel Hoffman made a recording of it. Clara Rockmore, “Berceuse” from Theremin (1977 Delos). Piano, Nadia Reisenberg; Produced by Robert Moog, Shirleigh Moog; Theremin, Clara Rockmore. Here Rockmore interprets a piece by Pyotr Ilyich Tchaikovsky (1840-1893). Lucie Bigelow Rosen, “Concerto in F” b Mortimer Browning (1940, privately recorded practice session). Ms. Rosen recorded this rehearsal in preparation for a live performance. Of great interest is that you can hear her speaking at the beginning and end of the session, and her playing is quite sophisticated. Lucie Bigelow Rosen, “The Old Refrain” by Fritz Kreisler (circa 1940 privately recorded session). Another privately recorded session by Ms. Rosen. Miklós Rózsa, Suite from The Lost Weekend (excerpt) from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. “This is a limited-edition recording, produced for the promotional purposes of the composer and is not licensed for public sale. The music was transferred to tape from the original acetate masters.” This was not a score released on a conventional soundtrack. This recording comes from a privately issued disc commissioned by the composer and I date it to around 1970. I wanted to include it because it a notably obscure soundtrack recording Theremin playing by Hoffman from the same era as the more famous and widely distributed Spellbound soundtrack. Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Lunar Rhapsody” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Hoffman, a foot doctor by profession, was one of the best-known Theremin players of his time. Not as persnickety as Rockmore about playing “spooky sounds,” he basically filled a gap in Theremin playing in popular music that Clara Rockmore refused to fill. He played one of the RCA production model Theremins from 1930. His most famous contributions included collaborations with Les Baxter, Miklos Rozsa, Harry Revel, and Bernard Herrmann, and his momentous movie music for Spellbound (1945) and The Day the Earth Stood Still (1951). He was initially a classically trained violinist, and at age 14 he began playing the violin professionally in New York City. By 1936, he had taken up the Theremin and begun featuring it in publicity for his engagements. He quickly gained notoriety using the electronic instrument and he became one of the world's most famous Theremin players. Harry Revel and Leslie Baxter with Dr. Samuel J. Hoffman, “Radar Blues” from Music Out Of The Moon: Music Unusual Featuring The Theremin (1947 Capitol). Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Fame” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances." Harry Revel, Leslie Baxter & Dr. Samuel J. Hoffman, “Obsession” from Perfume Set to Music (1948 RCA Victor). Composed by Harry Revel; Orchestra Chorus conducted by Leslie Baxter; Theremin, Dr. Samuel J. Hoffman. "As interpreted by the British-born composer, Harry Revel, in a musical suite describing six exotic Corday fragrances." Elliot Lawrence and His Orchestra, featuring Lucie Bigelow Rosen, “Gigolette” (1949 Columbia). An attempt to bring the Theremin into popular music, this recording by Elliot Lawrence and his Orchestra made at the Columbia 30th Street Studio in Midtown Manhattan features Lucie Bigelow Rosen. Ms. Rosen and her husband Walter were instrumental in providing offices for Leon Theremin to work in New York during the 1930s. The inventor personally made two instruments for her. She was a practiced enthusiast and did much concertizing with the Theremin from about 1935 to 1940. Samuel J. Hoffman, “Remembering Your Lips” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.” Samuel J. Hoffman, “This Room Is My Castle of Quiet” from Music for Peace of Mind (1950 Capitol). Orchestra conducted by Billy May; composed by Harry Revel; Theremin, Dr. Samuel J. Hoffman. “Music for PEACE OF MIND featuring the THEREMIN with orchestra.” Bernard Herrmann, Dr. Samuel J. Hoffman, “Gort,” “The Visor,” “The Telescope” from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Hoffmnan played one of the RCA production model Theremins from 1930 but by this time around 1950 had modified it to include an external speaker connection for improved recording of the instrument during studio sessions. Samuel J. Hoffman, “Moonlight Sonata” (Theremin Solo with Piano Accompaniment) (1951 Capitol). Eddie Layton, “Laura”, from Organ Moods in Hi-Fi (1955 Mercury). This song is noted as including the “Ethereal sound of the theremin.” Layton was a popular Hammond organ player, later on in his career he played the organ at old Yankee Stadium for nearly 40 years, earning him membership in the New York Sports Hall of Fame. This is his first album, one many, and is notable for using some early organ electronics. “It must be stated that all of the sounds in this album were created by Eddie Layton solely on the Hammond Organ including the rhythm sounds of the bass and guitar, by means of special imported electronic recording devices and microphones.” With the exception of the Theremin, I would add. An unknown Theremin model, most likely vacuum-tube driven, possibly an original RCA model. Monty Kelly And His Orchestra with Dr. Samuel J. Hoffman, “Blue Mirage” from “Blue Mirage”/ “That Sweetheart of Mine” (1955 Essex). Single release from this Orchestra led by Monty Kelly and featuring Hoffman on Theremin. Unknown Artist, “The Fiend Who Walked the West” lobby recording (1958). Theremin or musical saw? This is from an LP recording I have that was used in movie lobbies to entice people to come and see the horror film, The Fiend Who Walked the West (1958). Could this be a Theremin, or a musical saw? I think the latter. I have no information on who played the instrument, but it makes for some curious listening from days gone by while acknowledging one of the key sources of confusion for those who collect Theremin recordings. Sonny Moon And His Orchestra, “Countdown” from “Rememb'ring”/ “Countdown” (1958 Warner Brothers). A 45-RPM single from this short-lived group od the late 1950s. Includes an uncredited Theremin performance. Milton Grayson and Dr. Samuel J. Hoffman Theremin and Orchestra, “I Paid the Penalty” (1960 Royalty Recording Co.). A 45-RPM single about capital punishment. On one side of the record a San Francisco Attorney speaks about capital punishment. On the other side is this vocal by Grayson that dramatizes the subject. This appears to be some sort of public service announcement, but the disc itself bears no clues. This is the only release on this label. The vocal by Grayson is part sermon, part monolog, part song, with the threatening aura of the Theremin provided by Dr. Hoffman. It is undated, so I'm guessing around 1960 when Grayson was most active. Lew Davies And His Orchestra, “Riders in the Sky” from Strange Interlude (1961 Command). From the early sixties comes this wonderful amalgamation of exotica and space-age instruments. The Theremin is played by none other than Walter Sear, later the manager of the Sear Sound Studio in New York and an influential programmer (and sometimes player) of the Moog Modular Synthesizer. Several members of this band also became associated with the Moog Modular, including Bobby Byrne, Sy Mann, and producer Enoch Light. Bass, Bob Haggart, Jack Lesberg; Cimbalom, Michael Szittai; Drums, George Devens, Phil Kraus; Executive Producer, Enoch Light; French Horn, Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Ondioline, Sy Mann; Theremin, Paul Lippman, Walter Sear; Trombone, Bobby Byrne, Dick Hixon, Urbie Green. Yusef Lateef, “Sound Wave,” from A Flat, G Flat And C (1966 Impulse!). An innovative first from Mr. Lateef who foresaw the possibilities of the Theremin for new jazz. Lateef was known for his multi-instrumental talent on Tenor Saxophone, Alto Saxophone, Flute, Oboe and a variety of wooden flutes. Using the Theremin on this one track—I've never heard anything else he recorded with the Theremin—shows how a skilled jazz improviser can use the Theremin for self-expression. I would guess that this Theremin was made by Moog. Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson; Produced by Bob Thiele. Captain Beefheart And His Magic Band, “Electricity” from Safe as Milk (1967 Buddah). The Theremin in this case was played by none other than Samuel J. Hoffman using his souped-up RCA Theremin model Theremin. It was perhaps the last appearance on record by Hoffman, who died later in 1967. Apparently, the record company hated the track so much that it led to their being dropped from the label, at which point Frank Zappa came to the rescue. Fifty Foot Hose, “War is Over” (1967) from Ingredients (1997 compilation Del Val). Psychedelic rock group from San Francisco, formed in 1967, disbanded in 1970 and re-formed in 1995. Drums, Gary Duos; Guitar, David Blossom; Theremin, Electronics, Audio Generator, Siren, Cork Marcheschi. Recorded in 1966 in San Francisco. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet Concept). Unknown Theremin player, although the producers at Cadet/Chess were known to add the instrument to a session, such as those by Rotary Connection. Recorded at Ter Mar Studios, Chicago, February 1968. The song was written by producer Richard Evans, then the go-to producer and de facto label head for Chess Records' jazz imprint Cadet. Perhaps he also played the Theremin, which was probably a Moog Troubadour. The First Theremin Era, “The Barnabas Theme from Dark Shadows" / “Sunset In Siberia” (1969 Epic). "Dark Shadows" was super-popular daytime drama about a vampire on ABC-TV. This record was not an official release of the television show, but an interpretation of the theme that is seldom heard. I thought it's exotic funky treatment was especially worth hearing. The soundtrack for the TV show also included Theremin, possibly played by composer Robert Cobert, but in its more traditional spooky role. This record was produced and arranged by Charlie Calello, a well-known producer who had worked with the Four Seasons (singing group) and later would produce such super stars as Frank Sinatra, Neil Diamond, Bruce Springsteen, Laura Nyro, and Barbra Streisand. Mutantes, “Banho De Lua (Tintarella Di Luna)” from Mutantes (1969 Polydor). Brazilian folk-rock-psychedelic group that featured the Theremin blended with many other instruments, both acoustic and electronic. Arranged by, Mutantes; Drums, Sir Ronaldo I. Du Rancharia; Theremin, electronic Instruments, Claudio Régulus. This innovative pop trio from Brazil also collaborated with other artists such as Caetano Veloso and Gilberto Gil and were threatened by the military government of Brazil. What Theremin did they use? Several Moog models would have been available, but they also may have built their own. One photo I've seen suggested that they built their own. Lothar and the Hand People, “It Comes on Anyhow” from Machines: Amherst 1969 (2020 Modern Harmonic). Live recording from 1969 featuring the Moog Modular Synthesizer played by Paul Conly and the Moog Theremin played by vocalist John Emelin. On this track, the synthesizer and Theremin sounds are intermingled, making it a fun challenge to distinguish between the two of them. Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin. Lothar and the Hand People, “Today Is Only Yesterday's Tomorrow” from Machines: Amherst 1969 (2020 Modern Harmonic). This track was recorded live in 1969. John Emelin starts by introducing the Moog Theremin, called “Lothar.” Bass, Rusty Ford; Drums, Tom Flye; Guitar, Kim King; Keyboards, Moog Modular Synthesizer, Paul Conly; Vocals, Moog Troubadour Theremin (“Lothar”), John Emelin. Opening background tracks: Bernard Herrmann, Dr. Samuel J. Hoffman, “Prelude, Outer Space” (excerpt), from The Day the Earth Stood Still (Original Motion Picture Soundtrack) (1951 20th Century Fox). Soundtrack recorded at the Twentieth Century Fox Scoring Stage August 1951, reissued in 1993. Composed by Bernard Herrmann; Conducted by Alfred Newman, Bernard Herrmann, Lionel Newman; Theremin by Dr. Samuel J. Hoffman. Zinaida Hanenfeldt, Nathaniel Shilkret, Victor Salon Orchestra, “(I'm a dreamer) Aren't we all?” (1930 Victor). “Orchestra, with theremin soloist.” Theremin, Zinaida Hanenfeldt. Recorded January 17, 1930 in New York at the 28 West 44th St. studio. Samuel J. Hoffman, “The Swan”( Saint-Saens) from “Moonlight Sonata” / “The Swan” (1951 Capitol). Arranged and performed on the Theremin by “Dr. Hoffman.” Orchestra and Chorus Under the Direction Of Leslie Baxter, Dr. Samuel Hoffman, “Struttin' with Clayton” from “Jet” / “Struttin' With Clayton” (1950 RCA Victor). Theremin, Dr. Samuel J. Hoffman. Miklós Rózsa, “Dementia” from The Lost Weekend (The Classic Film Score) (1945 privately issued). Conducted, composed by Miklós Rózsa; Theremin, Dr. Samuel J. Hoffman. This podcast is not intended as a thorough history of the Theremin itself. There are many excellent resources that provide that, including my own book on the history of electronic music, the Bob Moog Foundation website, Albert Glinsky's wonderful book about Leon Theremin, and the entire Theremin World website that is devoted to everything Theremin. I urgently suggest that you consult those resources for more detail on the actual history of the instrument and the people behind it. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

KINETIC performs works by Mendelssohn, Anthony Brandt, and Miklós Rózsa.

Praised by American Record Guide as, "Energetic and exciting...", American composer Maria Newman has been commended and recognized by the U.S. Congress for her work in the field of original music composition, live performance, and recording. Newman's compositions have been performed and screened in such elite venues as Carnegie Hall, the Kennedy Center, the U.S. Capitol Building on Capitol Hill, the National Archives in Washington D.C., Hearst Castle Private Theater, the President's Own Marine Band Barracks, Nokia's NOVO Theatre, Heidelberg Castle, Brevard Center for the Arts, the Music Scoring Stages of 20th Century Fox, MGM, Paramount, Sony, Universal, and Warner Bros., among many others. Maria Newman has been featured in such spotlight one-on-one interviews paired with live concert performances as CBS Sunday Morning, National Public Radio's From the Top with Christopher O'Riley, andNPR's Performance Today. Additionally, her silent film scores are featured regularly on Turner Classics. Named a George Wellington Miles Scholar of Yale University, Newman is an elected member of the American Academic Music Honor Society, Pi Kappa Lambda.Maria Newman's original library of compositions have earned her accolades as an Annenberg Foundation Composition Fellow, a Mary Pickford Library Composition Fellow, a Sidney Stern Trust Composition Fellow, and as a Variety Music Legend. Her music is featured frequently on radio and television around the globe, and live-in-concert at numerous music festivals, chamber music series, and film festivals.      Maria Newman is Composer-in-Residence with the Malibu Coast Chamber Orchestra, SPaCE Salon Concerts Los Angeles, and the Malibu Coast Silent Film Orchestra. Fanfare Magazine has lauded Newman's compositions, hailing, “This is real genius.”  She has been celebrated by NPR's on-air icon of musical opinion, Jim Svejda, (Author and Host of The Record Shelf Guide to the Classical Repertoire) as, “Hugely musical, bewitching, witty, profound and playful, with an instantly recognizable and unusually appealing musical personality, Maria Newman is one of the most charming and distinctive composers of her generation.”  In the international spotlight, Maria Newman is the acclaimed viola soloist in Miklos Rozsa's Viola Concerto with the Nuremburg Symphony (Germany) on the GRAMMY Award-winning Symphonic Hollywood CD (Varese Sarabande label). She also appeared as the physical animation inspiration and violin soloist for the character of “The Grasshopper” in the 1996 Walt Disney release of Tim Burton's, James and the Giant Peach.Maria Newman is the youngest of 9-time Academy Award-winning composer Alfred Newman's seven children. She is the sister of film composers/conductors Thomas Newman and David Newman, and the cousin of Randy Newman. Maria Newman's recording studio is based in Malibu, California, designed by architect, Eric Lloyd Wright. Newman is married to American conductor and violist, Scott Hosfeld.

Welcome to part one of episode 33 of THE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. Both parts include releases from the end of 2021 to the beginning of 2022, starting with music from John Powell's acclaimed score for HOW TO TRAIN YOUR DRAGON 2 (VARESE SARABANDE), followed by a re-recording of Jerry Goldsmith's first-ever score BLACK PATCH (INTRADA), and Craig Safan's new score for the classic silent horror film THE PHANTOM OF THE OPERA (INTRADA). After playing a suite from John Barry's iconic 1964 score for ZULU (QUARTET), Jason plays excerpts from a vintage release of Raymond Leppard's 1969 film ALFRED THE GREAT (KRITZERLAND), a crucial cue from Mark Isham's 1993 score for FIRE IN THE SKY (INTRADA), and the end credits of Miklos Rozsa's final score DEAD MEN DON'T WEAR PLAID (INTRADA) Part two will be with you soon. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Mindtrickzz, Joe Wiles, Rich Alves, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Elizabeth, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Paul Helmuth Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin and Marcu Ioachim. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Today we present part one of the third ALL REQUEST SHOW on THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon in April, we've offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. If you want to participate in future all-request shows, please head over to our Patreon page, and join the community in any tier that is $5 USD/month or above. Once you do so you will be able to participate in all upcoming all request programs. For this second all-request program, our participants included Don mase, Eldaly Morningstar, Deniz Caglar, Jochen Stolz, Angela Rabatin, Glenn McDorman, Jerome Flick, Doug Lacey, Tim Burden, Dave Williams, and Victor Field. They requested tracks from such composers as Mick Gordon, Nobuo Uematsu, Fernando Velazquez, Mathieu Lamboley, George Fenton, James Horner, Vladamir Cosma, David Arnold, Batu Sener, Miklos Rozsa, and Richard Shores, This was once again a fantastic show to produce and I want to thank those who participated. Again, for those that didn't get a chance to send in a request and want to be a part of the next all-request program sometime this summer, we'd love to have you join the CINEMATIC SOUND RADIO PODCAST Patreon family. But don't feel like you have to join. I'm not forcing anyone to join.  Remember this podcast will always be free to listen to but if you want to support the program and join the community we've formed on Patreon then we'd love to have you. Enjoy the show! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Mindtrickzz, Joe Wiles, Rich Alves, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Elizabeth, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Paul Helmuth Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin and Marcu Ioachim. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

durée : 01:25:00 - Les Nuits de France Culture - Par Gerta Wilhelm - Avec Eva Vamos (historienne), Gyorgy Baron (critique de cinéma) et Christian Viviani (spécialiste du cinéma américain, journaliste et maître de conférences à Paris I) - Réalisation Christine Berlamont

Episode one hundred and forty-six of A History of Rock Music in Five Hundred Songs looks at “Good Vibrations” by the Beach Boys, and the history of the theremin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're Gonna Miss Me" by the Thirteenth Floor Elevators. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it, including the single version of "Good Vibrations". Oddly, the single version of "Good Vibrations" is not on the The Smile Sessions box set. But an entire CD of outtakes of the track is, and that was the source for the session excerpts here. Information on Lev Termen comes from Theremin: Ether Music and Espionage by Albert Glinsky Transcript In ancient Greece, the god Hermes was a god of many things, as all the Greek gods were. Among those things, he was the god of diplomacy, he was a trickster god, a god of thieves, and he was a messenger god, who conveyed messages between realms. He was also a god of secret knowledge. In short, he was the kind of god who would have made a perfect spy. But he was also an inventor. In particular he was credited in Greek myth as having invented the lyre, an instrument somewhat similar to a guitar, harp, or zither, and as having used it to create beautiful sounds. But while Hermes the trickster god invented the lyre, in Greek myth it was a mortal man, Orpheus, who raised the instrument to perfection. Orpheus was a legendary figure, the greatest poet and musician of pre-Homeric Greece, and all sorts of things were attributed to him, some of which might even have been things that a real man of that name once did. He is credited with the "Orphic tripod" -- the classification of the elements into earth, water, and fire -- and with a collection of poems called the Rhapsodiae. The word Rhapsodiae comes from the Greek words rhaptein, meaning to stitch or sew, and ōidē, meaning song -- the word from which we get our word "ode", and  originally a rhapsōdos was someone who "stitched songs together" -- a reciter of long epic poems composed of several shorter pieces that the rhapsōdos would weave into one continuous piece. It's from that that we get the English word "rhapsody", which in the sixteenth century, when it was introduced into the language, meant a literary work that was a disjointed collection of patchwork bits, stitched together without much thought as to structure, but which now means a piece of music in one movement, but which has several distinct sections. Those sections may seem unrelated, and the piece may have an improvisatory feel, but a closer look will usually reveal relationships between the sections, and the piece as a whole will have a sense of unity. When Orpheus' love, Eurydice, died, he went down into Hades, the underworld where the souls of the dead lived, and played music so beautiful, so profound and moving, that the gods agreed that Orpheus could bring the soul of his love back to the land of the living. But there was one condition -- all he had to do was keep looking forward until they were both back on Earth. If he turned around before both of them were back in the mortal realm, she would disappear forever, never to be recovered. But of course, as you all surely know, and would almost certainly have guessed even if you didn't know because you know how stories work, once Orpheus made it back to our world he turned around and looked, because he lost his nerve and didn't believe he had really achieved his goal. And Eurydice, just a few steps away from her freedom, vanished back into the underworld, this time forever. [Excerpt: Blake Jones and the Trike Shop: "Mr. Theremin's Miserlou"] Lev Sergeyevich Termen was born in St. Petersburg, in what was then the Russian Empire, on the fifteenth of August 1896, by the calendar in use in Russia at that time -- the Russian Empire was still using the Julian calendar, rather than the Gregorian calendar used in most of the rest of the world, and in the Western world the same day was the twenty-seventh of August. Young Lev was fascinated both by science and the arts. He was trained as a cellist from an early age, but while he loved music, he found the process of playing the music cumbersome -- or so he would say later. He was always irritated by the fact that the instrument is a barrier between the idea in the musician's head and the sound -- that it requires training to play. As he would say later "I realised there was a gap between music itself and its mechanical production, and I wanted to unite both of them." Music was one of his big loves, but he was also very interested in physics, and was inspired by a lecture he saw from the physicist Abram Ioffe, who for the first time showed him that physics was about real, practical, things, about the movements of atoms and fields that really existed, not just about abstractions and ideals. When Termen went to university, he studied physics -- but he specifically wanted to be an experimental physicist, not a theoretician. He wanted to do stuff involving the real world. Of course, as someone who had the misfortune to be born in the late 1890s, Termen was the right age to be drafted when World War I started, but luckily for him the Russian Army desperately needed people with experience in the new invention that was radio, which was vital for wartime communications, and he spent the war in the Army radio engineering department, erecting radio transmitters and teaching other people how to erect them, rather than on the front lines, and he managed not only to get his degree in physics but also a diploma in music. But he was also becoming more and more of a Marxist sympathiser, even though he came from a relatively affluent background, and after the Russian Revolution he stayed in what was now the Red Army, at least for a time. Once Termen's Army service was over, he started working under Ioffe, working with him on practical applications of the audion, the first amplifying vacuum tube. The first one he found was that the natural capacitance of a human body when standing near a circuit can change the capacity of the circuit. He used that to create an invisible burglar alarm -- there was an antenna sending out radio waves, and if someone came within the transmitting field of the antenna, that would cause a switch to flip and a noise to be sounded. He was then asked to create a device for measuring the density of gases, outputting a different frequency for different densities. Because gas density can have lots of minor fluctuations because of air currents and so forth, he built a circuit that would cut out all the many harmonics from the audions he was using and give just the main frequency as a single pure tone, which he could listen to with headphones. That way,  slight changes in density would show up as a slight change in the tone he heard. But he noticed that again when he moved near the circuit, that changed the capacitance of the circuit and changed the tone he was hearing. He started moving his hand around near the circuit and getting different tones. The closer his hand got to the capacitor, the higher the note sounded. And if he shook his hand a little, he could get a vibrato, just like when he shook his hand while playing the cello. He got Ioffe to come and listen to him, and Ioffe said "That's an electronic Orpheus' lament!" [Excerpt: Blake Jones and the Trike Shop, "Mr. Theremin's Miserlou"] Termen figured out how to play Massenet's "Elegy" and Saint-Saens' "The Swan" using this system. Soon the students were all fascinated, telling each other "Termen plays Gluck on a voltmeter!" He soon figured out various refinements -- by combining two circuits, using the heterodyne principle, he could allow for far finer control. He added a second antenna, for volume control, to be used by the left hand -- the right hand would choose the notes, while the left hand would change the volume, meaning the instrument could be played without touching it at all. He called the instrument the "etherphone",  but other people started calling it the termenvox -- "Termen's voice". Termen's instrument was an immediate sensation, as was his automatic burglar alarm, and he was invited to demonstrate both of them to Lenin. Lenin was very impressed by Termen -- he wrote to Trotsky later talking about Termen's inventions, and how the automatic burglar alarm might reduce the number of guards needed to guard a perimeter. But he was also impressed by Termen's musical invention. Termen held his hands to play through the first half of a melody, before leaving the Russian leader to play the second half by himself -- apparently he made quite a good job of it. Because of Lenin's advocacy for his work, Termen was sent around the Soviet Union on a propaganda tour -- what was known as an "agitprop tour", in the familiar Soviet way of creating portmanteau words. In 1923 the first piece of music written specially for the instrument was performed by Termen himself with the Leningrad Philharmonic, Andrey Paschenko's Symphonic Mystery for Termenvox and Orchestra. The score for that was later lost, but has been reconstructed, and the piece was given a "second premiere" in 2020 [Excerpt: Andrey Paschenko, "Symphonic Mystery for Termenvox and Orchestra" ] But the musical instrument wasn't the only scientific innovation that Termen was working on. He thought he could reverse death itself, and bring the dead back to life.  He was inspired in this by the way that dead organisms could be perfectly preserved in the Siberian permafrost. He thought that if he could only freeze a dead person in the permafrost, he could then revive them later -- basically the same idea as the later idea of cryogenics, although Termen seems to have thought from the accounts I've read that all it would take would be to freeze and then thaw them, and not to have considered the other things that would be necessary to bring them back to life. Termen made two attempts to actually do this, or at least made preliminary moves in that direction. The first came when his assistant, a twenty-year-old woman, died of pneumonia. Termen was heartbroken at the death of someone so young, who he'd liked a great deal, and was convinced that if he could just freeze her body for a while he could soon revive her. He talked with Ioffe about this -- Ioffe was friends with the girl's family -- and Ioffe told him that he thought that he was probably right and probably could revive her. But he also thought that it would be cruel to distress the girl's parents further by discussing it with them, and so Termen didn't get his chance to experiment. He was even keener on trying his technique shortly afterwards, when Lenin died. Termen was a fervent supporter of the Revolution, and thought Lenin was a great man whose leadership was still needed -- and he had contacts within the top echelons of the Kremlin. He got in touch with them as soon as he heard of Lenin's death, in an attempt to get the opportunity to cryopreserve his corpse and revive him. Sadly, by this time it was too late. Lenin's brain had been pickled, and so the opportunity to resurrect him as a zombie Lenin was denied forever. Termen was desperately interested in the idea of bringing people back from the dead, and he wanted to pursue it further with his lab, but he was also being pushed to give demonstrations of his music, as well as doing security work -- Ioffe, it turned out, was also working as a secret agent, making various research trips to Germany that were also intended to foment Communist revolution. For now, Termen was doing more normal security work -- his burglar alarms were being used to guard bank vaults and the like, but this was at the order of the security state. But while Termen was working on his burglar alarms and musical instruments and attempts to revive dead dictators, his main project was his doctoral work, which was on the TV. We've said before in this podcast that there's no first anything, and that goes just as much for inventions as it does for music. Most inventions build on work done by others, which builds on work done by others, and so there were a lot of people building prototype TVs at this point. In Britain we tend to say "the inventor of the TV" was John Logie Baird, but Baird was working at the same time as people like the American Charles Francis Jenkins and the Japanese inventor Kenjiro Takayanagi, all of them building on earlier work by people like Archibald Low. Termen's prototype TV, the first one in Russia, came slightly later than any of those people, but was created more or less independently, and was more advanced in several ways, with a bigger screen and better resolution. Shortly after Lenin's death, Termen was invited to demonstrate his invention to Stalin, who professed himself amazed at the "magic mirror". [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] Termen was sent off to tour Europe giving demonstrations of his inventions, particularly his musical instrument. It was on this trip that he started using the Romanisation "Leon Theremin", and this is how Western media invariably referred to him. Rather than transliterate the Cyrillic spelling of his birth name, he used the French spelling his Huguenot ancestors had used before they emigrated to Russia, and called himself Leo or Leon rather than Lev. He was known throughout his life by both names, but said to a journalist in 1928 "First of all, I am not Tair-uh-MEEN. I wrote my name with French letters for French pronunciation. I am Lev Sergeyevich Tair-MEN.". We will continue to call him Termen, partly because he expressed that mild preference (though again, he definitely went by both names through choice) but also to distinguish him from the instrument, because while his invention remained known in Russia as the termenvox, in the rest of the world it became known as the theremin. He performed at the Paris Opera, and the New York Times printed a review saying "Some musicians were extremely pessimistic about the possibilities of the device, because at times M. Theremin played lamentably out of tune. But the finest Stradivarius, in the hands of a tyro, can give forth frightful sounds. The fact that the inventor was able to perform certain pieces with absolute precision proves that there remains to be solved only questions of practice and technique." Termen also came to the UK, where he performed in front of an audience including George Bernard Shaw, Arnold Bennett, Henry Wood and others. Arnold Bennett was astonished, but Bernard Shaw, who had very strong opinions about music, as anyone who has read his criticism will be aware, compared the sound unfavourably to that of a comb and paper. After performing in Europe, Termen made his way to the US, to continue his work of performance, propagandising for the Soviet Revolution, and trying to license the patents for his inventions, to bring money both to him and to the Soviet state. He entered the US on a six-month visitor's visa, but stayed there for eleven years, renewing the visa every six months. His initial tour was a success, though at least one open-air concert had to be cancelled because, as the Communist newspaper the Daily Worker put it, "the weather on Saturday took such a counter-revolutionary turn". Nicolas Slonimsky, the musicologist we've encountered several times before, and who would become part of Termen's circle in the US, reviewed one of the performances, and described the peculiar audiences that Termen was getting -- "a considerable crop of ladies and gentlemen engaged in earnest exploration of the Great Beyond...the mental processes peculiar to believers in cosmic vibrations imparted a beatific look to some of the listeners. Boston is a seat of scientific religion; before he knows it Professor Theremin may be proclaimed Krishnamurti and sanctified as a new deity". Termen licensed his patents on the invention to RCA, who in 1929 started mass-producing the first ever theremins for general use. Termen also started working with the conductor Leopold Stokowski, including developing a new kind of theremin for Stokowski's orchestra to use, one with a fingerboard played like a cello. Stokowski said "I believe we shall have orchestras of these electric instruments. Thus will begin a new era in music history, just as modern materials and methods of construction have produced a new era of architecture." Possibly of more interest to the wider public, Lennington Sherwell, the son of an RCA salesman, took up the theremin professionally, and joined the band of Rudy Vallee, one of the most popular singers of the period. Vallee was someone who constantly experimented with new sounds, and has for example been named as the first band leader to use an electric banjo, and Vallee liked the sound of the theremin so much he ordered a custom-built left-handed one for himself. Sherwell stayed in Vallee's band for quite a while, and performed with him on the radio and in recording sessions, but it's very difficult to hear him in any of the recordings -- the recording equipment in use in 1930 was very primitive, and Vallee had a very big band with a lot of string and horn players, and his arrangements tended to have lots of instruments playing in unison rather than playing individual lines that are easy to differentiate. On top of that, the fashion at the time when playing the instrument was to try and have it sound as much like other instruments as possible -- to duplicate the sound of a cello or violin or clarinet, rather than to lean in to the instrument's own idiosyncracies. I *think* though that I can hear Sherwell's playing in the instrumental break of Vallee's big hit "You're Driving Me Crazy" -- certainly it was recorded at the time that Sherwell was in the band, and there's an instrument in there with a very pure tone, but quite a lot of vibrato, in the mid range, that seems only to be playing in the break and not the rest of the song. I'm not saying this is *definitely* a theremin solo on one of the biggest hits of 1930, but I'm not saying it's not, either: [Excerpt: Rudy Vallee, "You're Driving Me Crazy" ] Termen also invented a light show to go along with his instrument -- the illumovox, which had a light shining through a strip of gelatin of different colours, which would be rotated depending on the pitch of the theremin, so that lower notes would cause the light to shine a deep red, while the highest notes would make it shine a light blue, with different shades in between. By 1930, though, Termen's fortunes had started to turn slightly. Stokowski kept using theremins in the orchestra for a while, especially the fingerboard models to reinforce the bass, but they caused problems. As Slonimsky said "The infrasonic vibrations were so powerful...that they hit the stomach physically, causing near-nausea in the double-bass section of the orchestra". Fairly soon, the Theremin was overtaken by other instruments, like the ondes martenot, an instrument very similar to the theremin but with more precise control, and with a wider range of available timbres. And in 1931, RCA was sued by another company for patent infringement with regard to the Theremin -- the De Forest Radio Company had patents around the use of vacuum tubes in music, and they claimed damages of six thousand dollars, plus RCA had to stop making theremins. Since at the time, RCA had only made an initial batch of five hundred instruments total, and had sold 485 of them, many of them as promotional loss-leaders for future batches, they had actually made a loss of three hundred dollars even before the six thousand dollar damages, and decided not to renew their option on Termen's patents. But Termen was still working on his musical ideas. Slonimsky also introduced Termen to the avant-garde composer and theosophist Henry Cowell, who was interested in experimental sounds, and used to do things like play the strings inside the piano to get a different tone: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell was part of a circle of composers and musicologists that included Edgard Varese, Charles Ives, and Charles Seeger and Ruth Crawford, who Cowell would introduce to each other. Crawford would later marry Seeger, and they would have several children together, including the folk singer Peggy Seeger, and Crawford would also adopt Seeger's son Pete. Cowell and Termen would together invent the rhythmicon, the first ever drum machine, though the rhythmicon could play notes as well as rhythms. Only two rhythmicons were made while Termen was in the US. The first was owned by Cowell. The second, improved, model was bought by Charles Ives, but bought as a gift for Cowell and Slonimsky to use in their compositions. Sadly, both rhythmicons eventually broke down, and no recording of either is known to exist. Termen started to get further and further into debt, especially as the Great Depression started to hit, and he also had a personal loss -- he'd been training a student and had fallen in love with her, although he was married. But when she married herself, he cut off all ties with her, though Clara Rockmore would become one of the few people to use the instrument seriously and become a real virtuoso on it. He moved into other fields, all loosely based around the same basic ideas of detecting someone's distance from an object. He built electronic gun detectors for Alcatraz and Sing-Sing prisons, and he came up with an altimeter for aeroplanes. There was also a "magic mirror" -- glass that appeared like a mirror until it was backlit, at which point it became transparent. This was put into shop windows along with a proximity detector -- every time someone stepped close to look at their reflection, the reflection would disappear and be replaced with the objects behind the mirror. He was also by this point having to spy for the USSR on a more regular basis. Every week he would meet up in a cafe with two diplomats from the Russian embassy, who would order him to drink several shots of vodka -- the idea was that they would loosen his inhibitions enough that he would not be able to hide things from them -- before he related various bits of industrial espionage he'd done for them. Having inventions of his own meant he was able to talk with engineers in the aerospace industry and get all sorts of bits of information that would otherwise not have been available, and he fed this back to Moscow. He eventually divorced his first wife, and remarried -- a Black American dancer many years his junior named Lavinia Williams, who would be the great love of his life. This caused some scandal in his social circle, more because of her race than the age gap. But by 1938 he had to leave the US. He'd been there on a six-month visa, which had been renewed every six months for more than a decade, and he'd also not been paying income tax and was massively in debt. He smuggled himself back to the USSR, but his wife was, at the last minute, not allowed on to the ship with him. He'd had to make the arrangements in secret, and hadn't even told her of the plans, so the first she knew was when he disappeared. He would later claim that the Soviets had told him she would be sent for two weeks later, but she had no knowledge of any of this. For decades, Lavinia would not even know if her husband was dead or alive. [Excerpt: Blake Jones and the Trike Shop, "Astronauts in Trouble"] When Termen got back to the USSR, he found it had changed beyond recognition. Stalin's reign of terror was now well underway, and not only could he not find a job, most of the people who he'd been in contact with at the top of the Kremlin had been purged. Termen was himself arrested and tortured into signing a false confession to counter-revolutionary activities and membership of fascist organisations. He was sentenced to eight years in a forced labour camp, which in reality was a death sentence -- it was expected that workers there would work themselves to death on starvation rations long before their sentences were up -- but relatively quickly he was transferred to a special prison where people with experience of aeronautical design were working. He was still a prisoner, but in conditions not too far removed from normal civilian life, and allowed to do scientific and technical work with some of the greatest experts in the field -- almost all of whom had also been arrested in one purge or another. One of the pieces of work Termen did was at the direct order of Laventy Beria, Stalin's right-hand man and the architect of most of the terrors of the Stalinist regime. In Spring 1945, while the USA and USSR were still supposed to be allies in World War II, Beria wanted to bug the residence of the US ambassador, and got Termen to design a bug that would get past all the normal screenings. The bug that Termen designed was entirely passive and unpowered -- it did nothing unless a microwave beam of a precise frequency was beamed at it, and only then did it start transmitting. It was placed in a wooden replica of the Great Seal of the United States, presented to the ambassador by a troupe of scouts as a gesture of friendship between the two countries. The wood in the eagle's beak was thin enough to let the sound through. It remained there for seven years, through the tenures of four ambassadors, only being unmasked when a British radio operator accidentally tuned to the frequency it was transmitting on and was horrified to hear secret diplomatic conversations. Upon its discovery, the US couldn't figure out how it worked, and eventually shared the information with MI5, who took eighteen months to reverse-engineer Termen's bug and come up with their own, which remained the standard bug in use for about a decade. The CIA's own attempts to reverse-engineer it failed altogether. It was also Termen who came up with that well-known bit of spycraft -- focussing an infra-red beam on a window pane, to use it to pick up the sound of conversations happening in the room behind it. Beria was so pleased with Termen's inventions that he got Termen to start bugging Stalin himself, so Beria would be able to keep track of Stalin's whims. Termen performed such great services for Beria that Beria actually allowed him to go free not long after his sentence was served. Not only that, but Beria nominated Termen for the Stalin Award, Class II, for his espionage work -- and Stalin, not realising that Termen had been bugging *him* as well as foreign powers, actually upgraded that to a Class I, the highest honour the Soviet state gave. While Termen was free, he found himself at a loose end, and ended up volunteering to work for the organisation he had been working for -- which went by many names but became known as the KGB from the 1950s onwards. He tried to persuade the government to let Lavinia, who he hadn't seen in eight years, come over and join him, but they wouldn't even allow him to contact her, and he eventually remarried. Meanwhile, after Stalin's death, Beria was arrested for his crimes, and charged under the same law that he had had Termen convicted under. Beria wasn't as lucky as Termen, though, and was executed. By 1964, Termen had had enough of the KGB, because they wanted him to investigate obvious pseudoscience -- they wanted him to look into aliens, UFOs, ESP... and telepathy. [Excerpt, The Beach Boys, "Good Vibrations (early version)" "She's already working on my brain"] He quit and went back to civilian life.  He started working in the acoustics lab in Moscow Conservatory, although he had to start at the bottom because everything he'd been doing for more than a quarter of a century was classified. He also wrote a short book on electronic music. In the late sixties an article on him was published in the US -- the first sign any of his old friends had that he'd not  died nearly thirty years earlier. They started corresponding with him, and he became a minor celebrity again, but this was disapproved of by the Soviet government -- electronic music was still considered bourgeois decadence and not suitable for the Soviet Union, and all his instruments were smashed and he was sacked from the conservatory. He continued working in various technical jobs until the 1980s, and still continued inventing refinements of the theremin, although he never had any official support for his work. In the eighties, a writer tried to get him some sort of official recognition -- the Stalin Prize was secret -- and the university at which he was working sent a reply saying, in part, "L.S. Termen took part in research conducted by the department as an ordinary worker and he did not show enough creative activity, nor does he have any achievements on the basis of which he could be recommended for a Government decoration." By this time he was living in shared accommodation with a bunch of other people, one room to himself and using a shared bathroom, kitchen, and so on. After Glasnost he did some interviews and was asked about this, and said "I never wanted to make demands and don't want to now. I phoned the housing department about three months ago and inquired about my turn to have a new flat. The woman told me that my turn would come in five or six years. Not a very reassuring answer if one is ninety-two years old." In 1989 he was finally allowed out of the USSR again, for the first time in fifty-one years, to attend a UNESCO sponsored symposium on electronic music. Among other things, he was given, forty-eight years late, a letter that his old colleague Edgard Varese had sent about his composition Ecuatorial, which had originally been written for theremin. Varese had wanted to revise the work, and had wanted to get modified theremins that could do what he wanted, and had asked the inventor for help, but the letter had been suppressed by the Soviet government. When he got no reply, Varese had switched to using ondes martenot instead. [Excerpt: Edgard Varese, "Ecuatorial"] In the 1970s, after the death of his third wife, Termen had started an occasional correspondence with his second wife, Lavinia, the one who had not been able to come with him to the USSR and hadn't known if he was alive for so many decades. She was now a prominent activist in Haiti, having established dance schools in many Caribbean countries, and Termen still held out hope that they could be reunited, even writing her a letter in 1988 proposing remarriage. But sadly, less than a month after Termen's first trip outside the USSR, she died -- officially of a heart attack or food poisoning, but there's a strong suspicion that she was murdered by the military dictatorship for her closeness to Jean-Bertrand Aristide, the pro-democracy activist who later became President of Haiti. Termen was finally allowed to join the Communist Party in the spring of 1991, just before the USSR finally dissolved -- he'd been forbidden up to that point because of his conviction for counter-revolutionary crimes. He was asked by a Western friend why he'd done that when everyone else was trying to *leave* the Communist Party, and he explained that he'd made a promise to Lenin. In his final years he was researching immortality, going back to the work he had done in his youth, working with biologists, trying to find a way to restore elderly bodies to youthful vigour. But sadly he died in 1993, aged ninety-seven, before he achieved his goal. On one of his last trips outside the USSR, in 1991, he visited the US, and in California he finally got to hear the song that most people associate with his invention, even though it didn't actually feature a theremin: [Excerpt: The Beach Boys, "Good Vibrations"] Back in the 1930s, when he was working with Slonimsky and Varese and Ives and the rest, Termen had set up the Theremin Studio, a sort of experimental arts lab, and in 1931 he had invited the musicologist, composer, and theoretician Joseph Schillinger to become a lecturer there. Schillinger had been one of the first composers to be really interested in the theremin, and had composed a very early piece written specifically for the instrument, the First Airphonic Suite: [Excerpt: Joseph Schillinger, "First Airphonic Suite"] But he was most influential as a theoretician. Schillinger believed that all of the arts were susceptible to rigorous mathematical analysis, and that you could use that analysis to generate new art according to mathematical principles, art that would be perfect. Schillinger planned to work with Termen to try to invent a machine that could compose, perform, and transmit music. The idea was that someone would be able to tune in a radio and listen to a piece of music in real time as it was being algorithmically composed and transmitted. The two men never achieved this, but Schillinger became very, very, respected as someone with a rigorous theory of musical structure -- though reading his magnum opus, the Schillinger System of Musical Composition, is frankly like wading through treacle. I'll read a short excerpt just to give an idea of his thinking: "On the receiving end, phasic stimuli produced by instruments encounter a metamorphic auditory integrator. This integrator represents the auditory apparatus as a whole and is a complex interdependent system. It consists of two receivers (ears), transmitters, auditory nerves, and a transformer, the auditory braincenter.  The response to a stimulus is integrated both quantitatively and selectively. The neuronic energy of response becomes the psychonic energy of auditory image. The response to stimuli and the process of integration are functional operations and, as such, can be described in mathematical terms , i.e., as  synchronization, addition, subtraction, multiplication, etc. But these integrative processes alone do not constitute the material of orchestration either.  The auditory image, whether resulting from phasic stimuli of an excitor or from selfstimulation of the auditory brain-center, can be described only in Psychological terms, of loudness, pitch, quality, etc. This leads us to the conclusion that the material of orchestration can be defined only as a group of conditions under which an integrated image results from a sonic stimulus subjected to an auditory response.  This constitutes an interdependent tripartite system, in which the existence of one component necessitates the existence of two others. The composer can imagine an integrated sonic form, yet he cannot transmit it to the auditor (unless telepathicaliy) without sonic stimulus and hearing apparatus." That's Schillinger's way of saying that if a composer wants someone to hear the music they've written, the composer needs a musical instrument and the listener needs ears and a brain. This kind of revolutionary insight made Schillinger immensely sought after in the early 1930s, and among his pupils were the swing bandleaders Benny Goodman and Tommy Dorsey, and the songwriter George Gershwin, who turned to Schillinger for advice when he was writing his opera Porgy and Bess: [Excerpt: Ella Fitzgerald and Louis Armstrong, "Here Come De Honey Man"] Another of his pupils was the trombonist and arranger Glenn Miller, who at that time was a session player working in pickup studio bands for people like Red Nichols. Miller spent some time studying with him in the early thirties, and applied those lessons when given the job of putting together arrangements for Ray Noble, his first prominent job. In 1938 Glenn Miller walked into a strip joint to see a nineteen-year-old he'd been told to take a look at. This was another trombonist, Paul Tanner, who was at the time working as a backing musician for the strippers. Miller had recently broken up his first big band, after a complete lack of success, and was looking to put together a new big band, to play arrangements in the style he had worked out while working for Noble. As Tanner later put it "he said, `Well, how soon can you come with me?' I said, `I can come right now.' I told him I was all packed, I had my toothbrush in my pocket and everything. And so I went with him that night, and I stayed with him until he broke the band up in September 1942." The new band spent a few months playing the kind of gigs that an unknown band can get, but they soon had a massive success with a song Miller had originally written as an arranging exercise set for him by Schillinger, a song that started out under the title "Miller's Tune", but soon became known worldwide as "Moonlight Serenade": [Excerpt: Glenn Miller, "Moonlight Serenade"] The Miller band had a lot of lineup changes in the four and a bit years it was together, but other than Miller himself there were only four members who were with that group throughout its career, from the early dates opening for  Freddie Fisher and His Schnickelfritzers right through to its end as the most popular band in America. They were piano player Chummy MacGregor, clarinet player Wilbur Schwartz, tenor sax player Tex Beneke, and Tanner. They played on all of Miller's big hits, like "In the Mood" and "Chattanooga Choo-Choo": [Excerpt: Glenn Miller, "Chattanooga Choo-Choo"] But in September 1942, the band broke up as the members entered the armed forces, and Tanner found himself in the Army while Miller was in the Air Force, so while both played in military bands, they weren't playing together, and Miller disappeared over the Channel, presumed dead, in 1944. Tanner became a session trombonist, based in LA, and in 1958 he found himself on a session for a film soundtrack with Dr. Samuel Hoffman. I haven't been able to discover for sure which film this was for, but the only film on which Hoffman has an IMDB credit for that year is that American International Pictures classic, Earth Vs The Spider: [Excerpt: Earth Vs The Spider trailer] Hoffman was a chiropodist, and that was how he made most of his living, but as a teenager in the 1930s he had been a professional violin player under the name Hal Hope. One of the bands he played in was led by a man named Jolly Coburn, who had seen Rudy Vallee's band with their theremin and decided to take it up himself. Hoffman had then also got a theremin, and started his own all-electronic trio, with a Hammond organ player, and with a cello-style fingerboard theremin played by William Schuman, the future Pulitzer Prize winning composer. By the 1940s, Hoffman was a full-time doctor, but he'd retained his Musicians' Union card just in case the odd gig came along, and then in 1945 he received a call from Miklos Rozsa, who was working on the soundtrack for Alfred Hitchcock's new film, Spellbound. Rozsa had tried to get Clara Rockmore, the one true virtuoso on the theremin playing at the time, to play on the soundtrack, but she'd refused -- she didn't do film soundtrack work, because in her experience they only wanted her to play on films about ghosts or aliens, and she thought it damaged the dignity of the instrument. Rozsa turned to the American Federation of Musicians, who as it turned out had precisely one theremin player who could read music and wasn't called Clara Rockmore on their books. So Dr. Samuel Hoffman, chiropodist, suddenly found himself playing on one of the most highly regarded soundtracks of one of the most successful films of the forties: [Excerpt: Miklos Rozsa, "Spellbound"] Rozsa soon asked Hoffman to play on another soundtrack, for the Billy Wilder film The Lost Weekend, another of the great classics of late forties cinema. Both films' soundtracks were nominated for the Oscar, and Spellbound's won, and Hoffman soon found himself in demand as a session player. Hoffman didn't have any of Rockmore's qualms about playing on science fiction and horror films, and anyone with any love of the genre will have heard his playing on genre classics like The Five Thousand Fingers of Dr T, The Thing From Another World, It Came From Outer Space, and of course Bernard Hermann's score for The Day The Earth Stood Still: [Excerpt: The Day The Earth Stood Still score] As well as on such less-than-classics as The Devil's Weed, Voodoo Island, The Mad Magician, and of course Billy The Kid Vs Dracula. Hoffman became something of a celebrity, and also recorded several albums of lounge music with a band led by Les Baxter, like the massive hit Music Out Of The Moon, featuring tracks like “Lunar Rhapsody”: [Excerpt: Samuel Hoffman, "Lunar Rhapsody”] [Excerpt: Neil Armstrong] That voice you heard there was Neil Armstrong, on Apollo 11 on its way back from the moon. He took a tape of Hoffman's album with him. But while Hoffman was something of a celebrity in the fifties, the work dried up almost overnight in 1958 when he worked at that session with Paul Tanner. The theremin is a very difficult instrument to play, and while Hoffman was a good player, he wasn't a great one -- he was getting the work because he was the best in a very small pool of players, not because he was objectively the best there could be. Tanner noticed that Hoffman was having quite some difficulty getting the pitching right in the session, and realised that the theremin must be a very difficult instrument to play because it had no markings at all. So he decided to build an instrument that had the same sound, but that was more sensibly controlled than just waving your hands near it. He built his own invention, the electrotheremin, in less than a week, despite never before having had any experience in electrical engineering. He built it using an oscillator, a length of piano wire and a contact switch that could be slid up and down the wire, changing the pitch. Two days after he finished building it, he was in the studio, cutting his own equivalent of Hoffman's forties albums, Music For Heavenly Bodies, including a new exotica version of "Moonlight Serenade", the song that Glenn Miller had written decades earlier as an exercise for Schillinger: [Excerpt: Paul Tanner, "Moonlight Serenade"] Not only could the electrotheremin let the player control the pitch more accurately, but it could also do staccato notes easily -- something that's almost impossible with an actual theremin. And, on top of that, Tanner was cheaper than Hoffman. An instrumentalist hired to play two instruments is paid extra, but not as much extra as paying for another musician to come to the session, and since Tanner was a first-call trombone player who was likely to be at the session *anyway*, you might as well hire him if you want a theremin sound, rather than paying for Hoffman. Tanner was an excellent musician -- he was a professor of music at UCLA as well as being a session player, and he authored one of the standard textbooks on jazz -- and soon he had cornered the market, leaving Hoffman with only the occasional gig. We will actually be seeing Hoffman again, playing on a session for an artist we're going to look at in a couple of months, but in LA in the early sixties, if you wanted a theremin sound, you didn't hire a theremin player, you hired Paul Tanner to play his electrotheremin -- though the instrument was so obscure that many people didn't realise he wasn't actually playing a theremin. Certainly Brian Wilson seems to have thought he was when he hired him for "I Just Wasn't Made For These Times": [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] We talked briefly about that track back in the episode on "God Only Knows",   but three days after recording that, Tanner was called back into the studio for another session on which Brian Wilson wanted a theremin sound. This was a song titled "Good, Good, Good Vibrations", and it was inspired by a conversation he'd had with his mother as a child. He'd asked her why dogs bark at some people and not at others, and she'd said that dogs could sense vibrations that people sent out, and some people had bad vibrations and some had good ones. It's possible that this came back to mind as he was planning the Pet Sounds album, which of course ends with the sound of his own dogs barking. It's also possible that he was thinking more generally about ideas like telepathy -- he had been starting to experiment with acid by this point, and was hanging around with a crowd of people who were proto-hippies, and reading up on a lot of the mystical ideas that were shared by those people. As we saw in the last episode, there was a huge crossover between people who were being influenced by drugs, people who were interested in Eastern religion, and people who were interested in what we now might think of as pseudo-science but at the time seemed to have a reasonable amount of validity, things like telepathy and remote viewing. Wilson had also had exposure from an early age to people claiming psychic powers. Jo Ann Marks, the Wilson family's neighbour and the mother of former Beach Boy David Marks, later had something of a minor career as a psychic to the stars (at least according to obituaries posted by her son) and she would often talk about being able to sense "vibrations". The record Wilson started out making in February 1966 with the Wrecking Crew was intended as an R&B single, and was also intended to sound *strange*: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] At this stage, the song he was working on was a very straightforward verse-chorus structure, and it was going to be an altogether conventional pop song. The verses -- which actually ended up used in the final single, are dominated by organ and Ray Pohlman's bass: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] These bear a strong resemblance to the verses of "Here Today", on the Pet Sounds album which the Beach Boys were still in the middle of making: [Excerpt: The Beach Boys, "Here Today (instrumental)"] But the chorus had far more of an R&B feel than anything the Beach Boys had done before: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-02-18"] It did, though, have precedent. The origins of the chorus feel come from "Can I Get a Witness?", a Holland-Dozier-Holland song that had been a hit for Marvin Gaye in 1963: [Excerpt: Marvin Gaye, "Can I Get a Witness?"] The Beach Boys had picked up on that, and also on its similarity to the feel of Lonnie Mack's instrumental cover version of Chuck Berry's "Memphis, Tennessee", which, retitled "Memphis", had also been a hit in 1963, and in 1964 they recorded an instrumental which they called "Memphis Beach" while they were recording it but later retitled "Carl's Big Chance", which was credited to Brian and Carl Wilson, but was basically just playing the "Can I Get a Witness" riff over twelve-bar blues changes, with Carl doing some surf guitar over the top: [Excerpt: The Beach Boys, "Carl's Big Chance"] The "Can I Get a Witness" feel had quickly become a standard piece of the musical toolkit – you might notice the resemblance between that riff and the “talking 'bout my generation” backing vocals on “My Generation” by the Who, for example. It was also used on "The Boy From New York City", a hit on Red Bird Records by the Ad-Libs: [Excerpt: The Ad-Libs, "The Boy From New York City"] The Beach Boys had definitely been aware of that record -- on their 1965 album Summer Days... And Summer Nights! they recorded an answer song to it, "The Girl From New York City": [Excerpt: The Beach Boys, "The Girl From New York City"] And you can see how influenced Brian was by the Ad-Libs record by laying the early instrumental takes of the "Good Vibrations" chorus from this February session under the vocal intro of "The Boy From New York City". It's not a perfect match, but you can definitely hear that there's an influence there: [Excerpt: "The Boy From New York City"/"Good Vibrations"] A few days later, Brian had Carl Wilson overdub some extra bass, got a musician in to do a jaw harp overdub, and they also did a guide vocal, which I've sometimes seen credited to Brian and sometimes Carl, and can hear as both of them depending on what I'm listening for. This guide vocal used a set of placeholder lyrics written by Brian's collaborator Tony Asher, which weren't intended to be a final lyric: [Excerpt: The Beach Boys, "Good Vibrations (first version)"] Brian then put the track away for a month, while he continued work on the Pet Sounds album. At this point, as best we can gather, he was thinking of it as something of a failed experiment. In the first of the two autobiographies credited to Brian (one whose authenticity is dubious, as it was largely put together by a ghostwriter and Brian later said he'd never even read it) he talks about how he was actually planning to give the song to Wilson Pickett rather than keep it for the Beach Boys, and one can definitely imagine a Wilson Pickett version of the song as it was at this point. But Brian's friend Danny Hutton, at that time still a minor session singer who had not yet gone on to form the group that would become Three Dog Night, asked Brian if *he* could have the song if Brian wasn't going to use it. And this seems to have spurred Brian into rethinking the whole song. And in doing so he was inspired by his very first ever musical memory. Brian has talked a lot about how the first record he remembers hearing was when he was two years old, at his maternal grandmother's house, where he heard the Glenn Miller version of "Rhapsody in Blue", a three-minute cut-down version of Gershwin's masterpiece, on which Paul Tanner had of course coincidentally played: [Excerpt: The Glenn Miller Orchestra, "Rhapsody in Blue"] Hearing that music, which Brian's mother also played for him a lot as a child, was one of the most profoundly moving experiences of Brian's young life, and "Rhapsody in Blue" has become one of those touchstone pieces that he returns to again and again. He has recorded studio versions of it twice, in the mid-nineties with Van Dyke Parks: [Excerpt: Brian Wilson and Van Dyke Parks, "Rhapsody in Blue"] and in 2010 with his solo band, as the intro and outro of an album of Gershwin covers: [Excerpt: Brian Wilson, "Rhapsody in Blue"] You'll also often see clips of him playing "Rhapsody in Blue" when sat at the piano -- it's one of his go-to songs. So he decided he was going to come up with a song that was structured like "Rhapsody in Blue" -- what publicist Derek Taylor would later describe as a "pocket symphony", but "pocket rhapsody" would possibly be a better term for it. It was going to be one continuous song, but in different sections that would have different instrumentation and different feelings to them -- he'd even record them in different studios to get different sounds for them, though he would still often have the musicians run through the whole song in each studio. He would mix and match the sections in the edit. His second attempt to record the whole track, at the start of April, gave a sign of what he was attempting, though he would not end up using any of the material from this session: [Excerpt: The Beach Boys, "Good Vibrations: Gold Star 1966-04-09" around 02:34] Nearly a month later, on the fourth of May, he was back in the studio -- this time in Western Studios rather than Gold Star where the previous sessions had been held, with yet another selection of musicians from the Wrecking Crew, plus Tanner, to record another version. This time, part of the session was used for the bridge for the eventual single: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-04 Second Chorus and Fade"] On the twenty-fourth of May the Wrecking Crew, with Carl Wilson on Fender bass (while Lyle Ritz continued to play string bass, and Carol Kaye, who didn't end up on the finished record at all, but who was on many of the unused sessions, played Danelectro), had another attempt at the track, this time in Sunset Studios: [Excerpt: The Beach Boys: "Good Vibrations: Sunset Sound 1966-05-24 (Parts 2&3)"] Three days later, another group of musicians, with Carl now switched to rhythm guitar, were back in Western Studios recording this: [Excerpt: The Beach Boys: "Good Vibrations: Western 1966-05-27 Part C" from 2:52] The fade from that session was used in the final track. A few days later they were in the studio again, a smaller group of people with Carl on guitar and Brian on piano, along with Don Randi on electric harpsichord, Bill Pitman on electric bass, Lyle Ritz on string bass and Hal Blaine on drums. This time there seems to have been another inspiration, though I've never heard it mentioned as an influence. In March, a band called The Association, who were friends with the Beach Boys, had released their single "Along Comes Mary", and by June it had become a big hit: [Excerpt: The Association, "Along Comes Mary"] Now the fuzz bass part they were using on the session on the second of June sounds to my ears very, very, like that intro: [Excerpt: The Beach Boys, "Good Vibrations (Inspiration) Western 1966-06-02" from 01:47] That session produced the basic track that was used for the choruses on the final single, onto which the electrotheremin was later overdubbed as Tanner wasn't at that session. Some time around this point, someone suggested to Brian that they should use a cello along with the electrotheremin in the choruses, playing triplets on the low notes. Brian has usually said that this was Carl's idea, while Brian's friend Van Dyke Parks has always said that he gave Brian the idea. Both seem quite certain of this, and neither has any reason to lie, so I suspect what might have happened is that Parks gave Brian the initial idea to have a cello on the track, while Carl in the studio suggested having it specifically play triplets. Either way, a cello part by Jesse Erlich was added to those choruses. There were more sessions in June, but everything from those sessions was scrapped. At some point around this time, Mike Love came up with a bass vocal lyric, which he sang along with the bass in the choruses in a group vocal session. On August the twenty-fourth, two months after what one would think at this point was the final instrumental session, a rough edit of the track was pulled together. By this point the chorus had altered quite a bit. It had originally just been eight bars of G-flat, four bars of B-flat, then four more bars of G-flat. But now Brian had decided to rework an idea he had used in "California Girls". In that song, each repetition of the line "I wish they all could be California" starts a tone lower than the one before. Here, after the bass hook line is repeated, everything moves up a step, repeats the line, and then moves up another step: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] But Brian was dissatisfied with this version of the track. The lyrics obviously still needed rewriting, but more than that, there was a section he thought needed totally rerecording -- this bit: [Excerpt: The Beach Boys, "Good Vibrations: [Alternate Edit] 1966-08-24"] So on the first of September, six and a half months after the first instrumental session for the song, the final one took place. This had Dennis Wilson on organ, Tommy Morgan on harmonicas, Lyle Ritz on string bass, and Hal Blaine and Carl Wilson on percussion, and replaced that with a new, gentler, version: [Excerpt: The Beach Boys: "Good Vibrations (Western 1966-09-01) [New Bridge]"] Well, that was almost the final instrumental session -- they called Paul Tanner in to a vocal overdub session to redo some of the electrotheremin parts, but that was basically it. Now all they had to do was do the final vocals. Oh, and they needed some proper lyrics. By this point Brian was no longer working with Tony Asher. He'd started working with Van Dyke Parks on some songs, but Parks wasn't interested in stepping into a track that had already been worked on so long, so Brian eventually turned to Mike Love, who'd already come up with the bass vocal hook, to write the lyrics. Love wrote them in the car, on the way to the studio, dictating them to his wife as he drove, and they're actually some of his best work. The first verse grounds everything in the sensory, in the earthy. He makes a song originally about *extra* -sensory perception into one about sensory perception -- the first verse covers sight, sound, and smell: [Excerpt: The Beach Boys, "Good Vibrations"] Carl Wilson was chosen to sing the lead vocal, but you'll notice a slight change in timbre on the line "I hear the sound of a" -- that's Brian stepping into double him on the high notes. Listen again: [Excerpt: The Beach Boys, "Good Vibrations"] For the second verse, Love's lyric moves from the sensory grounding of the first verse to the extrasensory perception that the song has always been about, with the protagonist knowing things about the woman who's the object of the song without directly perceiving them. The record is one of those where I wish I was able to play the whole thing for you, because it's a masterpiece of structure, and of editing, and of dynamics. It's also a record that even now is impossible to replicate properly on stage, though both its writers in their live performances come very close. But while someone in the audience for either the current touring Beach Boys led by Mike Love or for Brian Wilson's solo shows might come away thinking "that sounded just like the record", both have radically different interpretations of it even while sticking close to the original arrangement. The touring Beach Boys' version is all throbbing strangeness, almost garage-rock, emphasising the psychedelia of the track: [Excerpt: The Beach Boys, "Good Vibrations (live 2014)"] While Brian Wilson's live version is more meditative, emphasising the gentle aspects: [Excerpt Brian Wilson, "Good Vibrations (live at the Roxy)"] But back in 1966, there was definitely no way to reproduce it live with a five-person band. According to Tanner, they actually asked him if he would tour with them, but he refused -- his touring days were over, and also he felt he would look ridiculous, a middle-aged man on stage with a bunch of young rock and roll stars, though apparently they offered to buy him a wig so he wouldn't look so out of place. When he wouldn't tour with them, they asked him where they could get a theremin, and he pointed them in the direction of Robert Moog. Moog -- whose name is spelled M-o-o-g and often mispronounced "moog", had been a teenager in 1949, when he'd seen a schematic for a theremin in an electronic hobbyist magazine, after Samuel Hoffman had brought the instrument back into the limelight. He'd built his own, and started building others to sell to other hobbyists, and had also started branching out into other electronic instruments by the mid-sixties. His small company was the only one still manufacturing actual theremins, but when the Beach Boys came to him and asked him for one, they found it very difficult to control, and asked him if he could do anything simpler. He came up with a ribbon-controlled oscillator, on the same principle as Tanner's electro-theremin, but even simpler to operate, and the Beach Boys bought it and gave it to Mike Love to play on stage. All he had to do was run his finger up and down a metallic ribbon, with the positions of the notes marked on it, and it would come up with a good approximation of the electro-theremin sound. Love played this "woo-woo machine" as he referred to it, on stage for several years: [Excerpt: The Beach Boys, "Good Vibrations (live in Hawaii 8/26/67)"] Moog was at the time starting to build his first synthesisers, and having developed that ribbon-control mechanism he decided to include it in the early models as one of several different methods of controlling the Moog synthesiser, the instrument that became synonymous with the synthesiser in the late sixties and early seventies: [Excerpt: Gershon Kingsley and Leonid Hambro, "Rhapsody in Blue" from Switched-On Gershwin] "Good Vibrations" became the Beach Boys' biggest ever hit -- their third US number one, and their first to make number one in the UK. Brian Wilson had managed, with the help of his collaborators, to make something that combined avant-garde psychedelic music and catchy pop hooks, a truly experimental record that was also a genuine pop classic. To this day, it's often cited as the greatest single of all time. But Brian knew he could do better. He could be even more progressive. He could make an entire album using the same techniques as "Good Vibrations", one where themes could recur, where sections could be edited together and songs could be constructed in the edit. Instead of a pocket symphony, he could make a full-blown teenage symphony to God. All he had to do was to keep looking forward, believe he could achieve his goal, and whatever happened, not lose his nerve and turn back. [Excerpt: The Beach Boys, "Smile Promo" ]

The second QUARTET RECORDS SPECIAL here on the CINEMATIC SOUND RADIO NETWORK focuses on recent releases from the Spanish-based soundtrack record label. Join Jason Drury and guest, film music restorer and mastering engineer Chris Malone, as they discuss and showcase music from THE PRIVATE LIFE OF SHERLOCK HOLMES by Miklos Rozsa released in 1970. Then you'll hear selections from Claude Bolling's suspenseful score to the 1980 horror THE AWAKENING. The 1965 Orson Welles classic period comedy, FALSTAFF (aka CHIMES AT MIDNIGHT) with music by Angelo Francesco Lavagnino, comes next and selections from the 1968 Italian crime thriller score ROMA COME CHICAGO (aka BANDITS IN ROME) composed by Bruno Nicolai and Ennio Morricone follows. The show ends by returning to THE PRIVATE LIFE OF SHERLOCK HOLMES by playing Miklos Rozsa's concert arrangement “Fantasy Suite”. Enjoy! —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Welcome to part one of episode 27 of The Archive on the CINEMATIC SOUND RADIO NETWORK. Your host Jason Drury first plays an extended suite of the recently released re-recording from Tadlow Records of Miklos Rozsa’s classic score for the 1961 Biblical epic, KING OF KINGS. Then Jason plays selections from Don Davis’s wonderful score for the 2004 BBC Drama Documentary special SPACE ODYSSEY: VOYAGE TO THE PLANETS or if you prefer WALKING WITH SPACEMEN (BSX Records). His "Best of British" section spans both parts of this episode, featuring the music of John Addison. During this show, Jason plays Addison's rip roaring score to the 1976 film SWASHBUCKLER (Quartet Records). Jason then finishes part one by playing selections of Maurice Jarre’s score for the classic 1975 John Huston directed adventure THE MAN WHO WOULD BE KING (Kritzerland) as a tribute to the late great Sir Sean Connery who died in November 2020. Enjoy! —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Matthew introduces a selection of music that underscores some of cinema's most tyrannical characters. The programme draws on music from Star Wars -Phantom Menace, You Only Live Twice, Chitty Chitty Bang Bang, Maleficent, The Hunger Games, V for Vendetta, Nineteen Eighty-Four, The Great Dictator, Man In The High Castle, Appassionata, Animal Farm, Novecento, The Last King of Scotland, Land of the Blind, and the Classic Score of the Week, Miklos Rozsa’s music for Quo Vadis.

Our special guest today forged an international career, achieving rave reviews around the world for her blend of brilliance, sensitivity, humour, insight and beauty of tone. One British critic described her as "saucy" and The New York Times admired her intelligence, integrity and all encompassing technical prowess. A winner of dozens of international piano competitions. Earned a spot in the classical music world with an eclectic repertory. Played concertos at some of the worlds most prestigious orchestras and musical events. A prolific recording artist who has taken on the works of Mozart, Gershwin, Dvorak (Dorjak) and the film composer Miklos Rozsa. Currently giving MasterClasses in four continents. The first transgender woman who made a remarkable impact to the sophisticated classical music world, Sara Davis Buechner. Check out today's guest Official Page ~ http://saradavisbuechner.comFacebook Fan Page account ~ https://www.facebook.com/SaraDavisBuechnerHere's a few accounts that can support our podcasting channel;Would you be willing to help by giving a support to any of the links below? Every penny you send will help us continue to work to build a better lgbtq+ community and your supports will make this happen. It is a very easy access and process with only a few clicks below PayPal link ~ https://paypal.me/breakfastwithtiff Buy Me A Tea link ~ https://www.buymeacoffee.com/tiffanyrossdale Patreon link ~ https://www.patreon.com/breakfastwithtiffanyYour generosity is astonishing and advance much thanks to your amazing supports.Check out amazing organic products on Pure Shop - https://pureshop.jp Face Care Oil (Recommended)https://pureshop.jp/product/facecareoil Tiffany Rossdale on Instagram ~ @tokyohottieSupport the show (https://paypal.me/breakfastwithtiff)

Featured this week is 'Project Power', a new film starring Jamie Foxx with music by Joseph Trapanese. The film is centred around a new drug which gives its recipient super powers for up to five minutes. Matthew Sweet foregrounds the music for this and other soundtracks to films inspired by the notion of empowerment. The programme includes music from ‘X-Men: First Class’, ‘Code 8’, ‘Spider-Man 2’, ‘Robocop’, ‘A.I.-Artificial Intelligence’, ‘The Devil’s Advocate’, ‘The Mephisto Waltz’, ‘Carrie’, ‘The Ninth Gate’ and ‘The Umbrella Academy’. The Classic Score of the Week is Miklos Rozsa’s music for ‘The Power’. Photo credit: Alfonso Bresciani/Netflix

Mit der Filmmusik zum Monumentalklassiker "Ben Hur" feierte Miklos Rózsa 1959 seinen bis dahin größten Erfolg. Drei Oscars gewann er insgesamt in seiner Laufbahn, für zahlreiche weitere wurde er nominiert. Und trotz seines kommerziellen Erfolges vernachlässigte Rózsa nie seine Werke für den Konzertsaal. 1956 spielte Jascha Heifetz die Premiere seines Violinkonzerts, einige Jahre später entstand ein Cello-Konzert. Autor: Niklas Rudolph

La música de cine marca la pauta en el ‘Sucedió una noche’ de esta semana. Vamos a recordar al compositor Miklos Rozsa en el 25 aniversario de su fallecimiento y esta semana estaba previsto el estreno de ¡Qué suene la música!, en la que un grupo de esposas de militares forman un coro. Finalmente, el estreno de la película se ha retrasado, pero nosotros hemos revisado nuestra videoteca para encontrar otras muchas películas que giran en torno a eso, a un coro. 

La música de cine marca la pauta en el ‘Sucedió una noche' de esta semana. Vamos a recordar al compositor Miklos Rozsa en el 25 aniversario de su fallecimiento y esta semana estaba previsto el estreno de ¡Qué suene la música!, en la que un grupo de esposas de militares forman un coro. Finalmente, el estreno de la película se ha retrasado, pero nosotros hemos revisado nuestra videoteca para encontrar otras muchas películas que giran en torno a eso, a un coro. 

La música de cine marca la pauta en el ‘Sucedió una noche’ de esta semana. Vamos a recordar al compositor Miklos Rozsa en el 25 aniversario de su fallecimiento y esta semana estaba previsto el estreno de ¡Qué suene la música!, en la que un grupo de esposas de militares forman un coro. Finalmente, el estreno de la película se ha retrasado, pero nosotros hemos revisado nuestra videoteca para encontrar otras muchas películas que giran en torno a eso, a un coro. 

Amici Miei,Il Capolavoro di Andrew Lloyd Webber e Tim Rice, il musical che ha mostrato al mondo un Gesù diverso dal solito, e soprattutto un Giuda diverso dal solito. Il Vangelo Rock: Jesus Christ Superstar, la più grande storia mai raccontata, vissuta attraverso canzoni senza tempo e interpretazioni da brivido.Ascolta, lascia un Like, Commenta, Condividi con gli amici!TRACK LIST01. RESURRECTION - di Miklos Rozsa (dal Film “Il Re dei Re” 1961)02. WHAT'S THE BUZZ03. HEAVEN ON THEIR MINDS04. EVERYTHING'S ALRIGHT05. I DON'T KNOW HOW TO LOVE HIM06. THIS JESUS MUST DIE07. THE LAST SUPPER08. I ONLY WANT TO SAY09. COULD WE START AGAIN PLEASE10. SUPERSTAR11. JOHN: NINETEEN - FORTYONECORRELATI:Episodio 009 - RENThttps://www.spreaker.com/user/baccassino/episodio-009-rentEpisodio 014 - NOTRE DAME DE PARIShttps://www.spreaker.com/user/baccassino/episodio-014-notre-dame-de-parisEpisodio 019 - HEDWIG ND THE ANGRY INCHhttps://www.spreaker.com/user/baccassino/episodio-019-hedwig-and-the-angry-inch

Welcome to part one a very special edition of THE ARCHIVE on the CINEMATIC SOUND RADIO NETWORK.  Host Jason Drury presents a tribute to the great actor, producer, director, philanthropist and writer, Kirk Douglas who passed away on February 5, 2020, at the age of 103. During this episode, Jason will feature music from some of the memorable films that the actor starred in the 1950's. The show starts with music from THE BAD AND THE BEAUTIFUL by David Raksin, then moves onto selections from the adventure film 20,000 LEAGUES UNDER THE SEA by Paul J. Smith. The show continues with Miklos Rozsa’s dramatic and beautiful score for LUST FOR LIFE and rounds off with the classic western GUNFIGHT AT THE OK CORRAL by Dimitri Tiomkin. Part two coming soon. Enjoy! —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

durée : 00:58:35 - Histoires d'Oscars (2/3) - par : Thierry Jousse - Deuxième épisode de notre série consacrée à l’histoire musicale des Oscars. Aujourd’hui, une déambulation à travers les années et les palmarès avec quelques grands lauréats comme Miklos Rozsa, Aaron Copland, Burt Bacharach, Francis Lai ou Jerry Goldsmith… - réalisé par : Benjamin Morando

Lee and Daniel are joined this week by their friend Jack Graham, making his return to the podcast to help them tackle more Sherlock Holmes adaptations. First up it's another Basil Rathbone film, with 1943's "The Spider Woman". Then they look at one of, if not the first, Holmes film to really take a much different look at the character, with Billy Wilder's "The Private Life of Sherlock Holmes" (1970). Holmes' sexuality; racism and propaganda in the Rathbone films; bald Christopher Lee; and the Loch Ness Monster are just a few of the things talked about in this episode. Listener comments are also covered. Find Jack Graham's work here. "The Spider Woman" IMDB  "The Private Life of Sherlock Holmes" IMDB  Featured Music: "Moving Out"; "Castles of Scotland; and "Main Titles/221B Baker Street" by Miklos Rozsa.

Original Broadcast: March 14, 2012 Original Show Notes - GUEST HOST: AMER ZAHID Cinematic Sound is proud to add another personality to our ever-expanding roster of guest hosts.  Amer Zahid is a lifelong film music aficionado and collector from Karachi, Pakistan. His formal introduction to film music began at age 7 with John Williams' SUPERMAN: THE MOVIE in the late 70's and it opened the flood gates for his love of film music. Amer has written for Lukas Kendall’s Film Score Monthly, Len Mullinger’s Film Music on the Web as well as other internet based film music review websites. Amer’s favorite composers are John Williams, Jerry Goldsmith, John Barry, Miklos Rozsa, Maurice Jarre and of course Bernard Herrmann. Herrmann’s music from Alfred Hitchcock’s PSYCHO and VERTIGO had a profound effect on him and was quick to embrace the works of legendary Golden Age composer. In this first part of Cinematic Sound's celebration of Bernard Herrmann's 100th anniversary, (which was actually last year - Bernard Herrmann was born on June 29, 1911 - so we are a little late to the party, big whoop, wanna fight about it?) Amer will be exploring, among other things, Herrmann's career with legendary directors Orson Welles and Alfred Hitchcock and presenting music from THE SEVENTH VOYAGE OF SINBAD, ON DANGEROUS GROUND, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, 5 FINGERS, THE SNOWS OF KILIMANJARO and THE GHOST AND MRS. MUIR. PLAYLIST • INTRO (0:00) • THE SEVENTH VOYAGE OF SINBAD (3:39) • ON DANGEROUS GROUND (10:17 • THE MAGNIFICENT AMBERSONS (18:10) • NORTH BY NORTHWEST (31:48) • VERTIGO (35:35) • 5 FINGERS (51:58) • THE SNOWS OF KILIMANJARO (55:25) • THE GHOST AND MRS. MUIR (1:01:05) Enjoy! —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Movie Scores and More Radio http://www.moviescoreradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Estamos de Cine se mantiene fiel a su cita semanal y combate el frío y el parón de esta Semana Santo con un episodio que quiere rendir homenaje al ‘Peplum', el género que estos días se ha colado en nuestras pantallas a cualquier hora con películas de romanos, sandalias, espadas, desiertos y decorados de cartón piedra. Nuestro experto musical, Ángel Luque, nos propone descubrir algunas de las brillantes composiciones que han dignificado algunos títulos asociados a una apuesta fílmica que se hizo gigante con títulos como ‘Ben Hur' o ‘Cleopatra'. Compositores históricos como Alex North, Miklos Rozsa, Dimitri Tiomkin o James Horner demuestran con sus bandas sonoras que el ‘Peplum' puede esconder grandes diamantes musicales. Y no nos olvidamos de actualizar las novedades que han llegado a la cartelera en este periodo de asueto. La oferta comercial le hace un aclarado total a ‘Los Vengadores: El Juego Final', que llega el 26 de abril, pero apuesta en este impás por el terror de ‘La Llorona' o por las europeas ‘Gracias a Dios o ‘La Espía Roja'. Alberto Luchini mantiene afilado su bisturí en plena Semana Santa para hacer la autopsia a una remozada cartelera en la que no es oro todo lo que reluce. Gracias por elegirnos y feliz escucha.

Con Carlos Iribarren. Hoy Toca viajar a una década maravillosa, especialmente prolífica en grandes bandas sonoras de todos los géneros que se os puedan ocurrir. Acompañados por Iván Palomares, compositor recientemente nominado al Goya por su banda sonora para la peli “En las estrellas”, escucharemos piezas inolvidables de grandes maestros de la época dorada de Hollywood, los años 50: Miklos Rozsa, Max Steiner, Franz Waxman, Alex North… ¡¡Y otros 4 grandes!! Que arranque ya la proyección y disfrutes con nosotros de la mejor música del mundo, la de Clásica FM.

Con Carlos Iribarren. Hoy Toca viajar a una década maravillosa, especialmente prolífica en grandes bandas sonoras de todos los géneros que se os puedan ocurrir. Acompañados por Iván Palomares, compositor recientemente nominado al Goya por su banda sonora para la peli “En las estrellas”, escucharemos piezas inolvidables de grandes maestros de la época dorada de Hollywood, los años 50: Miklos Rozsa, Max Steiner, Franz Waxman, Alex North… ¡¡Y otros 4 grandes!! Que arranque ya la proyección y disfrutes con nosotros de la mejor música del mundo, la de Clásica FM.

EL CID por Fernando Alonso Barahona "El ciego sol, la sed y la fatiga por la terrible estepa castellana al destierro con doce de los suyos, polvo, sudor y hierro El Cid cabalga"; MANUEL MACHADO El sabor del Romancero (Dios que buen vasallo si tuviera buen señor ) , de los héroes capaces de entregar su vida a la más esforzada de las causas, se percibe y dibuja en El Cid , la película de Anthony Mann, producida en 1961 por Samuel Bronston y que se ha convertido en un icono de la épica en el séptimo arte .   Me he referido a esta singular obra maestra en mis libros "Charlton Heston la épica de un héroe"; (EIUNSA 1999) y Anthony Mann (Film Ideal 1997 ). Manuel Hidalgo publicó un precioso y completo libro sobre la obra : Matalo tu ( el amor ), y Jesus García de Dueñas contó la historia de la película en su monumental libro El imperio Bronston . El Cid es sin duda Charlton Heston en una encarnación prodigiosa del ese héroe de historia, romances, teatro , poesía y aventura . Su legado cinematográfico como actor es impresionante : Pasión bajo la niebla (Ruby Gentry ) de King Vidor – espléndido melodrama al lado de Jennifer Jones – y El mayor espectáculo del mundo, de Cecil B de Mille, ganadora del Oscar a la mejor película iniciaron su camino del éxito . Luego vendrían : , Cuando ruge la marabunta (The naked edge ), Los Diez Mandamientos (The ten Commandments ), Sed de mal (Touch of evil ), Horizontes de grandeza (The big country ), Ben Hur, El Cid, 55 dias en Pekín , El tormento y el extasis (The agony and the ecstasy ), Khartoum, El planeta de los simios (The planet of the apes ), El señor de la guerra (The war lord ), Mayor Dundee, Will Penny, The Omega man , Cuando el destino nos alcance (Soylent green ), Terremoto (Earthquake ), Marco Antonio y Cleopatra, Mother lode, A man for all seasons, La isla del tesoro (Treasure island ) a las órdenes de directores como Cecil B. de Mille, William Wyler, Orson Welles, King Vidor, Nicholas Ray, Anthony Mann, Carol Reed, Byron Haskin, Franklin J. Schaffner, Richard Fleischer, Sam Peckinpah ….conforman la carrera excepcional de un auténtico héroe épico que como el Cid Campeador, en la vida y en la muerte, fue el ” más noble caballero andante que jamás ciñera espada “.     El Cid es la historia de un héroe leal a su rey y valeroso hasta la extenuación , que sabe amar ( la reconciliación con Jimena es un momento mágico de romanticismo y belleza ), cumplir con su deber ( la jura de Santa Gadea en la que obliga al Rey Alfonso a jurar que no tuvo parte en la muerte de su hermano don Sancho ), pelear ( el juicio de Dios de Calahorra , un ejemplo de montaje y puesta en escena absolutamente antológica ) , perdonar ( España tiene por fin un rey, le musita herido de muerte al rey Alfonso cuando éste reconoce por fin su error y corre a su lado ) y morir ( la antológica escena de la muerte de Rodrigo - El Cid - agarrado al brazo de Jimena y haciéndola prometer que a la mañana siguiente habrá de conducir a sus tropas a la victoria, vivo o muerto .     Anthony Mann ( su obra fue analizada con entusiasmo por Felix Martialay en los especiales de Film Ideal de la época ) logró transmitir unas imágenes de poderosa belleza , desde el paisaje agreste de Castilla hasta la emocionante secuencia final : el héroe cabalgando en la playa y perdiéndose en el horizonte tras haber cruzado las puertas de la Historia para entrar en la leyenda .  Charlton Heston es el Cid en su más pefecta encarnación - como supo reconocer Ramon Menéndez Pidal , el mayor especialista cidiano en todo el mundo - , héroe, valiente , esforzado, el caballero andante en su expresión suma . Sofia Loren posee la belleza serena que otorga a doña Jimena un carácter parecido a Dulcinea, pero es también la mujer fuerte que defiende la memoria de su padre y cumple la última voluntad de su esposo .   El Cid es poesía épica , una película bellísima, perfecta en su concepción, desarrollo y personajes, producida con amor y pasión por Samuel Bronston que logró convertir el personaje histórico español en una leyenda universal para las nuevas generaciones que se acercan a la película y reviven el Romancero , la Reconquista de España , el honor y la lealtad a través de las figuras de Charlton Heston (Rodrigo ), Raf Vallone, Herbert Lom, Genevieve Page o Hurt Hatfield, los actores que completan el ajustado reparto .   El guión lo firmó Philip Yordan y la magnífica banda sonora pertenece el gran Miklos Rozsa que venía de componer nada menos que Ben Hur y Rey de Reyes .    El Cid permanece viva y hoy se disfruta aún más que en su estreno, sobre todo en un momento en el que el siglo XXI busca valores positivos, referencias y héroes auténticos . Rodrigo Díaz de Vivar , el Cid, es uno de ellos . Pero en ello han tenido mucho que ver el talento de Anthony Mann para contar una historia - en clave de "western"; se dijo en su momento - y Charlton Heston, el héroe épico por excelencia de la historia del cine .

In a new episode of Kinotes, we explore the music of the “Master of Suspense”, Alfred Hitchcock, in part one of a two-part series entitled “Hitchcock: The Music of Suspense, Obsession, & Murder". There’s been so much discussion about Hitchcock’s use of visuals in the movies, but less so his soundtracks. In this first part, we’ll talk about Hitchcock’s use of music before his collaboration with Bernard Herrmann (with one exception), beginning with his first sound film BLACKMAIL and including films like THE MAN WHO KNEW TOO MUCH, REBECCA, SUSPICION, SHADOW OF A DOUBT, SPELLBOUND, NOTORIOUS, ROPE, STRANGERS ON A TRAIN, REAR WINDOW, and many others. We’ll talk about his early sound and music innovations, his constant return to the waltz as a musical form, his technique of threading a song throughout a story, and his collaboration with a variety of accomplished composers including Franz Waxman, Dimitri Tiomkin, and Miklos Rozsa. Show Notes: 0:00:00 - Introduction 0:02:36 - Advent of Talkies: BLACKMAIL, MURDER, JUNO & THE PAYCOCK 0:21:00 - The Waltz & Development of a Song: WALTZES FROM VIENNA, REAR WINDOW 0:26:48 - Public Performance, Music for Life and Death: THE MAN WHO KNEW TOO MUCH ('34 & '56), SECRET AGENT 0:40:58 - Earworms: THE 39 STEPS & THE LADY VANISHES 0:48:14 - Musical Performances & Guilt: YOUNG & INNOCENT, ROPE, STAGEFRIGHT 0:55:43 - Waxman's Seductive Feminine Themes: REBECCA, THE PARADINE CASE, BRIDE OF FRANKENSTEIN, SUNSET BLVD 01:06:04 - Piano Symbolism: PARADINE CASE, WESTWORLD, SABOTEUR 01:09:00 - Themes for Villains: SUSPICION, SHADOW OF A DOUBT, & STRANGERS ON A TRAIN 01:21:08 - Ticking Tiomkin: HIGH NOON, DIAL M FOR MURDER, Boris Gudonov 1:24:56 - The Two Sides of Love: SPELLBOUND, NOTORIOUS 1:32:30 - Outro / Sources / Social Media / Suite from REBECCA Please subscribe, rate, review and/or leave a comment on iTunes. For other queries, email us at kinotes.podcast@gmail.com. We’re also on Twitter: @kinotespodcast and @nicknylen (my personal handle). All episodes are written and produced by Nick Nylen. Sources: * Books: HITCHCOCK’S MUSIC by Jack Sullivan, SILENT SCREAM: ALFRED HITCHCOCK’S SOUNDTRACK By Elisabeth Weis, A HEART AT FIRE’S CENTER: THE LIFE AND MUSIC OF BERNARD HERRMANN by Stephen C. Smith, and HITCHCOCK/TRUFFAUT by Francois Truffaut. * Film commentary from the PARADINE CASE Blu-ra by Stephen Rebello and Bill Krohn. * The documentary film, HITCHCOCK/TRUFFAUT about the conception of the book of the same name. * If you liked this podcast, I have a few other deep dives on music in specific Hitchcock films to recommend: “Settling the Score’s” episodes on VERTIGO and PSYCHO, “Underscore”’s episodes on VERTIGO and on Bernard Herrmann, and “The Soundtrack Show’s” episode on PSYCHO.

Dedicamos este episodio a uno de los mayores mitos masculinos del cine: Humphrey Bogart. Comentamos algunas de sus películas (no todas, pues sería imposible) y lo que su figura supuso para el cine. Lo hacemos Ángela Verge (@angela_verge), Juan Pablo Alemán (@araphant), Miguel Benito (@mbenlaz_CaraB) y Egoitz Gago (@EgoitzAnton). Además hoy contamos con las colaboraciones en forma de audio de Yolima Díaz (@yolimadiaz) , Antonio Moreno (@towaroff) y José Antonio Guillén (@berrendero1472). Músicas: La Búsqueda de Ianna - Epic Soul Factory. The Maltese Falcon soundtrack - Adolph Deutsch. Sahara main title - Miklos Rozsa. Sahara concert suite - Miklos Rozsa. Death of Maria and finale. The Barefoot Contessa - Mario Nascimbene. As Time Goes By - Dooley Wilson.

On this week’s episode of CINEMATIC SOUND RADIO, we will be shining the spotlight again on film, TV and video game re-recordings. Back in August of 2016, we presented a similar re-recording program. We also featured John Williams re-recordings, James Horner re-recordings, Elmer Bernstein re-recordings, and an entire tribute to Charles Gerhardt. Today you will hear selections from EL HOMBRE ESPONJA (THE MAN SPONGE) by Fernando Velazquez, JULIUS CAESER by Miklos Rozsa, SOMETHING WICKED THIS WAY COMES by Geroges Delerue, A STREETCAR NAMED DESIRE by Alex North, A TIME TO KILL by Elliot Goldenthal, UNDER SUSPICION and WHEN THE WHALES CAME by Christopher Gunning, BLUE VELVET, INSIDE THE ACTORS STUDIO and THE TORCH THEME FROM THE BARCELONA SUMMER OLYMPIC by Angelo Badalamenti, and BATTLESTAR GALACTICA by Stu Phillips. Featured conductors include Bruce Broughton, Jerry Goldsmith, Dirk Brosse, Joel McNeely, and Rumon Gamba. Featured orchestras include The Royal Scottish National Orchestra, The National Philharmonic Orchestra, Orquesta Sinfonica de Euskadi, The BBC Philharmonic Orchestra, and The Brussels Philharmonic. And when you are done, check out CINEMATIC SOUND RADIO’s countdown of the top 14 re-recordings of all time by going to http://www.cinematicsound.net/14th-anniversary/ Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Welcome to episode two of THE ARCHIVE WITH JASON DRURY here on CINEMATIC SOUND RADIO. This episode features an exclusive suite of music from Tadlow Records’ brand new recording of BEN-HUR by Miklos Rozsa. BATMAN: THE ANIMATED SERIES turns 25 years old this month and to commemorate that momentous occasion you’ll hear selections from the various scores composed by Shirley Walker. Jason takes a trip back to 1983 and plays for you selections from John Barry’s score to HIGH ROAD CHINA. Composer Roy Budd was born on March 14, 1947. Sadly and suddenly, he passed away at the age of 46 from a brain hemorrhage on August 7th, 1993. Jason celebrates Budd’s 70th anniversary with music from FEAR IS THE KEY and his final score for PHANTOM OF THE OPERA. Back in 2009 Intrada Records released Jerry Goldsmith score to ONE LITTLE INDIAN by Jerry Goldsmith. You’ll hear a suite from that score which was initially released in 1973. Afterwards, Jason treats you with music from David Arnold’s forgotten classic to LAST OF THE DOGMEN and then rounds off the program with a flourish with music from Tadlow Records’ re-recording of TARAS BULBA by Franz Waxman. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Matthew Sweet presents a selection of film music and takes a look at some of diverse range of films inspired by the Arthurian legends in the week of the release of Guy Ritchie's new film "King Arthur: Legend of the Sword" with a score by Daniel Pemberton. The programme includes music by Trevor Jones, Miklos Rozsa, Franz Waxman, Hans Zimmer, Jimmy Van Heusen, Lerner and Loewe, Anne Dudley and ... Monty Python? The Classic Score of the Week is Ron Goodwin's "Gawain and the Green Knight".

Our guest this month is film critic and historian Imogen Sara Smith. We start by discussing her background as a film writer and how she started writing about noir in particular (1:40). Then we discuss her commentary track for the new DVD/Blu-ray release of The Scar (aka Hollow Triumph), including the central role of star/producer/director Paul Henreid (5:30), the movie's theme of people not noticing things right in front of them and how that relates to film noir in general (10:25), the great cinematography by John Alton and expressionism in noir (13:40), and one quote from the movie that sums up film noir all in one phrase (18:35). Then we discuss Imogen's NOIR CITY e-magazine article "Wanted Man: The Fugitive" from the Fall 2016 issue about noir transitioning to TV in the 1960s: how The Fugitive exemplified themes and style common to film noir (20:20), older TV shows not being designed for binge-watching (28:50), and the influence of the show's creator Roy Huggins in designing TV concepts that sustain suspense and interest from one episode to the next (31:05). Next up is Imogen's article "A Light In The Dark: Ella Raines and Film Noir's Working Girls" from the Fall 2015 issue of NOIR CITY. We talk about the background and career of 1940s leading lady Ella Raines (35:40) and how she epitomized the working girl character that briefly flourished in film noir, a positive companion to the more widely known femme fatale character (40:00). Then we play a game of hypotheticals: Raines was discovered and groomed by Howard Hawks, but she never appeared in any movies he directed, so which "Hawksian women" would have been good parts for her? (45:35) We also talk about Imogen's book "In Lonely Places: Film Noir Beyond The City." We discuss its overall theme of classic noir films taking place in settings outside cities, and how that reflected post-war trends in the US (56:15), plus just what is it that makes film noir so interesting: we all love the style and the iconography, but there's way more to it that keeps us coming back to these movies that still resonate today (59:55). We conclude with the film series that Imogen programmed in connection with her book (1:08:00). NOIR CITY Austin takes place from Friday May 19 through Sunday May 21 at Austin's Alamo Drafthouse Ritz, with FNF founder and president Eddie Muller introducing the movies. Schedule and tickets available here: https://drafthouse.com/austin/program/noir-city-austin-2017 The new Blu-ray release of The Scar (aka Hollow Triumph), with commentary track by Imogen Sara Smith, is available from Kino Lorber: https://www.kinolorber.com/product/view/id/4033 Imogen's article "Wanted Man: The Fugitive" is in the Fall 2016 issue of the NOIR CITY e-magazine. Subscribe with a donation to the Film Noir Foundation: http://www.filmnoirfoundation.org/noircityemag.html The article "A Light In The Dark: Ella Raines and Film Noir's Working Girls" is from the Women In Film Noir issue of NOIR CITY, available for back-order here: http://www.noircitymag.com/noir_city_16.html The book "In Lonely Places: Film Noir Beyond The City" is available here: https://www.amazon.com/Lonely-Places-Film-Noir-Beyond/dp/0786463058 Feedback: podcast@filmnoirfoundation.org Music: Themes from The Killers (by Miklos Rozsa) and On Dangerous Ground (Bernard Herrmann). "One For My Baby (and One More For The Road)" by Harold Arlen and Johnny Mercer, sung by Ida Lupino in Roadhouse. Dialogue from The Scar, with Paul Henreid and Joan Bennett. Opening credits from The Fugitive narrated by William Conrad.

Puede que nacieses precisamente en aquel año, que no hubieses alcanzado la pubertad o que la hubieses abandonado mucho tiempo atrás. Sea cual fuera la edad que tuvieses en el año 1982, estoy seguro que has visto un buen número de películas de la cosecha de aquel año a lo largo de tu vida. En pantalla grande, en su estreno o en sus reposiciones, en televisión o el viejo VHS que todavía sobrevive en casa de tus padres. Las películas de 1982 fueron fundamentales para definir la década cinematográfica de los 80 y tú fuiste testigo de ello. En este séptimo capítulo de Sonora Podcast, viajamos a aquel año y recordamos como en los doce meses comprendidos entre el final de 1981 y el principio de 1983 se alumbraron películas tan gloriosas para el séptimo arte como "E.T. el Extraterrestre", "Blade Runner", "Rambo, Acorralado" o "Conan el Barbaro". Mezclamos scores instrumentales con canciones originales al tiempo que saltamos de un género a otro para repasar en apenas hora y media lo que supuso aquel año 1982. Jerry Goldsmith, John Williams, Basil Poledouris, Ennio Morricone, Henry Mancini o Miklos Rozsa abrazan a Ray Charles, Dire Straits, Jackson Browne, Survivor o Pink Floyd en este podcast. Dale al play y viaja al pasado cinematográfico a través de tus orejas con Sonora Podcast.

Puede que nacieses precisamente en aquel año, que no hubieses alcanzado la pubertad o que la hubieses abandonado mucho tiempo atrás. Sea cual fuera la edad que tuvieses en el año 1982, estoy seguro que has visto un buen número de películas de la cosecha de aquel año a lo largo de tu vida. En pantalla grande, en su estreno o en sus reposiciones, en televisión o el viejo VHS que todavía sobrevive en casa de tus padres. Las películas de 1982 fueron fundamentales para definir la década cinematográfica de los 80 y tú fuiste testigo de ello. En este séptimo capítulo de Sonora Podcast, viajamos a aquel año y recordamos como en los doce meses comprendidos entre el final de 1981 y el principio de 1983 se alumbraron películas tan gloriosas para el séptimo arte como "E.T. el Extraterrestre", "Blade Runner", "Rambo, Acorralado" o "Conan el Barbaro". Mezclamos scores instrumentales con canciones originales al tiempo que saltamos de un género a otro para repasar en apenas hora y media lo que supuso aquel año 1982. Jerry Goldsmith, John Williams, Basil Poledouris, Ennio Morricone, Henry Mancini o Miklos Rozsa abrazan a Ray Charles, Dire Straits, Jackson Browne, Survivor o Pink Floyd en este podcast. Dale al play y viaja al pasado cinematográfico a través de tus orejas con Sonora Podcast.

Our guest this month is Film Noir Foundation charter director and treasurer Alan K. Rode. We discuss the recent NOIR CITY Hollywood festival, starting with a brief history of the festival and some of this year's movies including Address Unknown and Quiet Please Murder (4:15), a nod to the studios supporting the FNF with great prints of rare titles for the NOIR CITY festivals (8:40), how B-movies were promoted with unusual titles and innovative screenwriting (9:50), a few anecdotes on alternate movie titles from old Hollywood (12:25), plus the challenges of finding film prints of long-unseen movies, including one with no opening credits, and untangling issues involving multiple rights-owners (14:20). Then we talk about the upcoming Arthur Lyons Film Noir Festival in Palm Springs. We discuss the festival's origins and Alan continuing the work of its late founder (20:50), behind-the-scenes stories with guests over the years including Ernest Borgnine, Norman Lloyd, Barbara Hale, Nancy Olson, and Jon Polito (25:00), the unique festival atmosphere of Palm Springs, with unplanned cast and crew reunions (30:50), videos available online of guest interviews, such as June Lockhart on acting with dogs on Lassie and battling vegetables on Lost In Space (34:45), and a preview of this year's festival guests and movie lineup, including Meet Danny Wilson and All The King's Men (38:35). We also discuss how Alan's family connections with old Hollywood influenced him growing up (45:10), his biography of Charles McGraw and narrating Hollywood history through a non-superstar's perspective (48:05), reviving interest in McGraw's movies (52:50), and background on Alan's upcoming Michael Curtiz biography (55:00). The 18th annual Arthur Lyons Film Noir Festival will be held from May 11-14: http://arthurlyonsfilmnoir.ning.com/ Video interviews of festival guest appearances at Palm Springs are available at: http://www.filmnoirfoundation.org/video.html Alan details his Hollywood family remembrances at his website: https://alankrode.com/index.php/dinner-with-alfonse-a-family-remembrance Alan's book "Charles McGraw: Film Noir Tough Guy" is available at: https://www.amazon.com/gp/product/0786471727/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0786471727&linkCode=as2&tag=%20mywebsite6008-20&linkId=7f2e1fb4113f877af109260a30572b8b "Michael Curtiz: A Life In Film" will be available in November: https://www.amazon.com/gp/product/B06WVDXBQV/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B06WVDXBQV&linkCode=as2&tag=%20mywebsite6008-20&linkId=60ae087f92eda5d0feebd6ceca5160f2 NOIR CITY film festival posters, souvenir program, and e-magazine back issues are available at: http://www.noircity.com/noircityware.html Feedback: podcast@filmnoirfoundation.org Music: Themes from The Asphalt Jungle (by Miklos Rozsa) and The Accused (Victor Young). "That Old Black Magic" (Harold Arlen and Johnny Mercer) from Meet Danny Wilson (sung by Frank Sinatra). Dialogue from The Narrow Margin, with Charles McGraw and Marie Windsor.

Por Fran Beltrán Si existe el cielo y la majestuosidad en la música de cine, ese es Ben-Hur. La magistral música, obra de Miklós Rózsa, es una obra impresionante con unos pasajes impecables, una gran percusión y unos temas espectaculares cargados de una gran epicidad. Esta gran superproducción, protagonizada por Charlton Heston, es una de las mayores obras maestras del cine y el compositor húngaro tuvo gran culpa de ello. Rosza nos sumerge a través de un tema principal de magnífica ejecución en la personalidad de Ben -Hur, su heroicidad, su benevolencia y su sed de venganza, todo ello queda perfectamente reflejado en una melodía cargada de gran fuerza musical. A través de espectaculares "Marcias" Romanas, podemos sumergirnos en esa Roma, pletórica y victoriosa pero también Rosza ofrece una oda a la belleza y a lo espiritual con melodías de gran dramatismo, cargadas de luz y esperanza, como la resurrección final. La acción también luce magistral en la Batalla contra los piratas, con grandes dosis de percusión y frenéticas melodías que años más tarde fueron influenciadas en sus alumnos aventajados como John Williams o Jerry Goldsmith. Una obra maestra, un Score épico que catapultó el sinfonismo y a la gran orquesta y que ha servido de inspiración para nuevos talentos (algunos fallecidos y otros actuales) que han adquirido el vigorismo y la majestuosidad de Rózsa, como fueron Basil Poledouris y actualmente, Michael Giachinno, Danny Elfman, Lee Holdridge o Abel korzeniowski. Bienvenidos al espectáculo, al gran cine y a la maravillosa obra maestra de Rosza! En esta 2ª parte podréis disfrutar de las secciones "El Rincón del Coleccionista" y "Bonus Track" con Miguel Casares, "Grandes Esperanzas" con Alma López, "Repartiendo Zapatilla" con los Hermanos Jimenez y "Firma invitada" con Fran Beltrán. Tracklist 1.  Fertility Dance (01:02) 2.  Arrius' Party (01:13) 3.  Nostalgia/Farewell to Rome (02:11) 4.  A Barren Coast (00:26) 5.  Judea/Balthazar (02:25) 6.  Balthazar's World (01:56) 7.  Homecoming (01:21) 8.  Memories/Hatred (04:22) 9.  Lepers (01:01) 10.  Return/Promise (05:21) 11.  Sorrow and Intermission (01:22) 12.  Entr'Acte (03:47) 13.  Panem et Circenses (00:52) 14.  Circus Fanfares Nos. 1-4 (00:42) 15.  Panem et Circenses (00:45) 16.  New Fanfare for Circus Parade (Parade of the Charioteers) (03:15) 17.  Circus Fanfare No. 6 (Fanfare for Start of Race) (00:11) 18.  Panem et Circenses (00:57) 19.  Circus Fanfare No. 7 (Ben-Hur Crowned) (00:16) 20.  Bitter Triumph (00:46) 21.  Aftermath (01:16) 22.  Valley of Lepers/The Search (02:53) 23.  The Uncleans (02:29) 24.  Road of Sorrow (02:49) 25.  The Mount/The Sermon (01:18) 26.  Frustration (01:15) 27.  Valley of the Dead/Tirzah Saved (04:00) 28.  The Procession to Calvary/The Bearing of the Cross/Recognition (07:06) 29.  Aftermath (Crucifixion) (02:21) 30.  Golgotha (00:53) 31.  Shadow of a Storm (01:01) 32.  The Miracle/Finale (04:53) 33. Evelyn King "Give it up" Killer Dance Mix (Fright Night, 1985) 5:46 34. Barry Lyndon (Main Title) - George Friedrich Haendel / Sarabande 2:43 35. Finale From "The Lost Weekend" - Miklós Rózsa  4:12 36. Prelude From Double Indemnity - Miklós Rózsa  3:16 37. The Towering Inferno - John Williams 5:06 38. Superman - Prelude / Main Title March - John Williams 5:29 39. Star Trek 2009 - End Credits - Michael Giacchino  9:11 40. Jaws (Tiburón) - Main Title / The First Victim - John Williams 3:28 

Llegamos a nuestro tercer programa con un podcast para el comentario y análisis de la película Ben-Hur (William Wyler, 1959) con música del genial compositor húngaro Miklós Rózsa. El análisis en profundidad de esta superproducción de la Metro, nos ha obligado a realizar dos podcasts para repartir la gran duración de este trabajo de casi ocho horas de comentarios y música. Y también para facilitar la audición del programa completo. Al igual que en las grandes superproducciones clásicas hemos realizado una "intermission" al termino del análisis del primer CD de la edición Film Score Monthly con Miklós Rózsa dirigiendo la M-G-M Symphony Orchestra and Chorus que conforma este primer podcast. Junto con otros temas musicales que hemos incluido en el tracklist, cortes, secuencias y las secciones de nuestros colaboradores "Conexión Berlín" con Celia Martínez, "Cuaderno de cine" con Fernando Alonso Barahona, "El Acomodador" con Alí Trujillo y la incorporación a nuestro equipo del crítico de cine César Bardés y su nueva sección "Dirigido por" analizando al director William Wyler. Este programa ha supuesto un gran esfuerzo de todo el equipo y en especial quiero agradecer a Miguel Casares por la confección de esas fantásticas cabeceras de las secciones y al gran Alí Trujillo por su impagable labor al montaje de este mega podcast que rinde homenaje a una película más grande que la vida misma. Una colosal superproducción, sobre una historia de los tiempos de Cristo, ganadora de 11 Oscars y entre ellos a la genial banda sonora del maestro Miklós Rózsa del que se cumple, este próximo 18 de Abril, el 110 aniversario de su nacimiento en Budapest. Esta masterclass tan sólo pretende homenajear a esta grandiosa película y acercar a los oyentes al espectacular score de Rózsa. De los mejores y más influyentes de toda la historia del cine. Espero que lo disfrutéis. Gracias por la escucha. Remad y vivid! Juan Ramón López Tracklist The Film Score FSM Miklós Rózsa 1. Overture (6:29) 2. Anno Domini (1:31) 3. Star of Bethlehem / Adoration of The Magi (3:31) 4. Shofar Call (0:15) 5. Fanfare to Prelude / Prelude / Marcia Romana (3:59) 6. Recuerda (Spellbound- Main Theme) / (4:41) 7. Spirit and Sword (0:50) 8. Salute for Messala (1:10) 9. Friendship (4:22) 10. The House Of Hur (0:42) 11. The Conflict (1:41) 12. Esther (2:34) 13. Love Theme / Ring For Freadom (4:47) 14. Gratus Entry To Jerusalem (1:56) 15. Arrest (1:18) 16. Reminiscences (1:47) 17. Escape (2:07) 18. Vengeance (0:47) 19. The Desert / Exhaustion / The Prince Of Peace / Roman Galley (7:31) 20. Quintus Arrius (0:41) 21. The Galley (3:18) 22. Battle Preparations / The Pirate Fleet Attack! / Ramming Speed / Battle / Rescue (9:50) 23. Roman Sails (0:47) 24. Victory Parade (2:24) 25. Victory Finale (0:27) 26. The Fall Of The Roman Empire - Commodus Parade (Dimitri Tiomkin) / (5:27) 27. Gladiator - Now We Are Free (Hans Zimmer & Lisa Gerrard) (4:14) 28. La Heredera ( Aaron Copland) / (2:40) INTERMISSION

Welcome to NOIR TALK, a podcast devoted to discussing the Film Noir Foundation. Our first guest is FNF founder and president Eddie Muller. We start with a tribute to the late Turner Classic Movies host Robert Osborne (3:00), and then we discuss Eddie's new TCM series Noir Alley (9:00), his scheduled appearance at the upcoming TCM Festival (22:00), and the NOIR CITY Annual compendium of e-magazine articles from 2016 (26:00). Then we talk about the NOIR CITY festival theme for the year, The Big Knockover (37:00), heist movies featuring terrific ensemble casts (47:00), NOIR CITY festival audiences (50:00), an interesting Italian film in this year's festival lineup (52:00), this year's festival poster featuring Ms. NOIR CITY 2017 (56:00), a local guest at the San Francisco festival (1:02:00), a preview of NOIR CITY Hollywood (1:05:00), Eddie's approach to programming film festivals with both rare and famous titles (1:10:00), and showing movies digitally while still supporting film preservation (1:14:00). Sign up for the FNF email list and contribute for a NOIR CITY e-magazine subscription: http://www.filmnoirfoundation.org/signup.html NOIR CITY Annual 2016 available at: https://www.amazon.com/Noir-City-Annual-No-9/dp/0692808329/ref=sr_1_1?s=books&ie=UTF8&qid=1489529589&sr=1-1 See the NOIR CITY 2017 movie lineup and poster at http://noircity.com/index.html Feedback: podcast@filmnoirfoundation.org Music: Themes from The Asphalt Jungle (by Miklos Rozsa), Sweet Smell Of Success (Elmer Bernstein), Rififi (Georges Auric)

Matthew Sweet looks at the influence of Schoenberg on film music - not least in the scores of Leonard Rosenman, Miklos Rozsa, Scott Bradley, Jerry Goldsmith, David Shire, Ernest Gold, Johnny Mandel, Humphrey Searle, Benjamin Frankel and Elisabeth Lutyens. Although Schoenberg never wrote a score to accompany an actual film he was very interested in the medium and lived his final years in Hollywood where several of the leading Hollywood composers attended his composition classes. His revolutionary ideas about "twelve tone" composition made a sizable impact on film music as Matthew explores and illustrates in this programme.

On this week’s episode of CINEMATIC SOUND RADIO, we’ll be featuring music from 8 brand new albums. We open the program with James Newton Howard’s new fantasy adventure score to FANTASTIC BEASTS AND WHERE TO FIND THEM. You’ll also hear Jóhann Jóhannsson’s inventive score to ARRIVAL. Alan Silvestri continues his lengthy collaboration with Robert Zemeckis on the World War II espionage thriller ALLIED. Michael Giacchino joins Marvel to score DOCTOR STRANGE. THE BIRTH OF A NATION features an inspired dramatic score by Henry Jackman. Our video game score of the week comes from the new expansion pack WORLD OF WARCRAFT: LEGION. Our re-recording/film music vault selection is Prometheus Records and Tadlow Music’s new recording of Miklos Rozsa’s THE THIEF OF BAGDAD. And we end the program off with one of the cues of the year from 93 DAYS by George Kallis. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Music for Halloween.  Including: The Halloween Dance, Blue Ghost Blues, Bloody Razor Blues, Spellbound soundtrack, The Richest Guy In the Graveyard, Skeleton Rag, Lonesome Graveyard and Catacombs. Plus, the host reads, The Sleeper, by Edgar Allen Poe. Performers include: Helen Gross, Etta Jones, Miklos Rozsa, Big Joe Turner, The American Quartet and Lonnie Johnson.

Vuelve El Guion Musical, el podcast número uno de Bandas Sonoras, después del parón veraniego que ha servido en nuestro caso para coger más fuerzas y renovar los animos y la bateria. Os entregamos el Guion Musical en su número 12, y ya metidos en la segunda temporada. Como siempre un podcast con mucha ilusión y equipo de grabación renovado y puesto al día. Para este principio de temporada un montón de clásicos y tres temas de este año: Casablanca (1942) de Max Steiner; El Cid (1961) de Miklos Rozsa; El León en Invierno (1969) de John Barry; Tiburón (1975) de John Williams; La Misión (1986) de Ennio Morricone; 1492, La conquista del Paraíso (1992) de Vangelis; Julieta (2016) de Alberto Iglesias y El Olivo (2016) de Paul Gaigne. Además de un bonus extra que deberás adivinar… www.guionmusical.hol.es y @elguionmusical para ponerte en contacto con nosotros.

After a 13 month hiatus CINEMATIC SOUND RADIO’s “In The Spotlight” segment returns with a special two hour tribute to one of the greatest orchestras in the United States, The Utah Symphony Orchestra. The orchestra, founded in 1940, is celebrating their 75th year during their 2015-2016 season. To honour that momentous occasion we here at CINEMATIC SOUND RADIO proudly present music from some of the Utah Symphony’s film music themed albums.This is our 10th episode of the new two hour CINEMATIC SOUND RADIO format and this show might very well be the best one we’ve produced so far. You will hear sensational music from such films as OWN TOWN by Aaron Copland, THE SEA HAWK by Erich Wolfgang Korngold, SPELLBOUND by Miklos Rozsa, THE COMANCHEROS by Elmer Bernstein, THE EMPIRE STRIKES BACK by John Williams, NOTORIOUS by Roy Webb and much more.Cinematic Sound Radiohttp://www.cinematicsound.netCinematic Sound Radio Fanfare and Theme by David Coscinahttps://soundcloud.com/user-970634922Bumper voice artist: Tim Burdenhttp://www.timburden.comAlso available through Podtyranthttp://www.podtyrant.com

Matthew Sweet features music for films on the theme of "Genius" including music for the new Matthew Brown film about mathematician, Srinivasa Ramanujan - "The Man Who Knew Infinity", with music by Matthew's brother, Coby. Also in the programme, music by James Bernard, Alexandre Desplat, Stanley Myers, Harald Kloser and Thomas Wander, James Horner, James Newton Howard, Barrington Pheloung, Jeff Beal, Elliot Goldenthal and Gary Yershon. The Classic Score of the Week is Miklos Rozsa's music for the 1956 Van Gogh bio-pic "Lust for Life".

On episode five of CINEMATIC SOUND RADIO ON WROCK we will be playing music from two brand new film scores. The show opens up with new music by Hanan Townshend from the film KNIGHT OF CUPS. You'll also hear selections from Richard Harvey and Hans Zimmer's delightful and imaginative score to THE LITTLE PRINCE.Our John Williams album of the week comes from Williams' 1996 TRUMPET CONCERTO commissioned by the Cleveland Symphony Orchestra. Our re-recording of the week is Intrada Records' brilliant TWELVE CHORUSES featuring music from BEN-HUR and KING OF KINGS composed by Miklos Rozsa. Our video game score of the week is Michael Land's brilliant score to the mid-90's sci-fi adventure, THE DIG. You'll also hear selections from Guy Van Neuten's score to MILO from the album MUSIC FOR SMALL ORCHESTRA.And we'll end the program with our Easter themed end title suite featuring music from Alfred Newman's THE GREATEST STORY EVER TOLD and John Debney's THE PASSION OF THE CHRIST.Cinematic Sound Radiohttp://www.cinematicsound.netCinematic Sound Radio Fanfare and Theme by David Coscinahttps://soundcloud.com/user-970634922Bumper voice artist: Tim Burdenhttp://www.timburden.com

Nobody knew they were making films noir when the genre started in the 40s — it wasn't until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn't realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder's brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,' particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It's one of our favorite films and certainly the perfect way to kick off this series. Tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

Nobody knew they were making films noir when the genre started in the 40s — it wasn’t until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn’t realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder’s brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,’ particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It’s one of our favorite films and certainly the perfect way to kick off this series. Tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

Nobody knew they were making films noir when the genre started in the 40s — it wasn't until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn't realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder's brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,' particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It's one of our favorite films and certainly the perfect way to kick off this series. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)

Nobody knew they were making films noir when the genre started in the 40s — it wasn't until much later when the French dubbed this new run of American films that had a darker bent with snappy dialogue, lots of shadows and femme fatales film noir. Billy Wilder was setting out to make a crime thriller; he didn't realize at the time that his film “Double Indemnity” would be considered the first real film noir. Join us — Pete Wright and Andy Nelson — as we begin our Film Noir series with Wilder's brilliant film from 1944. We talk about the genre and what it means to be called a ‘film noir,' particularly in relationship to the Hays Code. We chat about the brilliant trio of actors who bring this film to life — Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. We look at the brilliant directing by Wilder and his co-writing with none other than Raymond Chandler. We investigate the dark and shadowy lighting by cinematographer John F. Seitz as well as the moody, driving score by Miklos Rozsa. And we touch on the real life crime that inspired James M. Cain to write the novella upon which this was based. It's one of our favorite films and certainly the perfect way to kick off this series. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)

Comenzamos el año, y lo hacemos viajando a la antigüedad remota. La voz de nuestros antepasados, a través de las crónicas y leyendas, refrendadas por los restos arqueológicos, nos permiten asomarnos y poder contemplar en todo su esplendor cómo era el primer Madrid. Viajaremos a un paraje fértil, repleto de bosques, surcado por arroyos y rico en aguas subterráneas. Un lugar donde todavía podemos contemplar a los osos, reinando sobre multitud de animales. En esta tierra carpetana, los romanos fundan villas agrícolas, trazan calzadas y establecen posadas para las postas en el viaje desde la cercana Complutum. Los Visigodos también se enseñorean de estas tierras y dejan la huella de su vigoroso paso. Sin embargo, son los musulmanes los que, en el año 856 de nuestra era, establecen una atalaya defensiva en la cornisa de una elevada colina en la margen del río Manzanares. Madrid acaba de nacer. Acompáñanos en un viaje a la Edad Media, para conocer Madrid en sus primeros siglos de historia. Pasearemos por sus calles, visitaremos sus murallas, curiosearemos en sus tiendas, conoceremos a sus gentes, a sus ciudadanos más ilustres, y podremos, por un momento, respirar y sentirnos como si el tiempo se hubiera detenido y nos hubiéramos transportado a un mundo antiguo pero, aunque nos parezca imposible, aún presente en nosotros mismos y en nuestra ciudad. Esperamos que os guste. Participan en este programa: Mayra Alminar, Kike Vera, Kukufeto Flanders, Sara Black y el Prof. Valnadú. En las redes sociales sigue al mando Naidú. @PodCastizo https://www.facebook.com/podcastizo Bibliografía empleada sobre "El origen de Madrid y el Madrid medieval": - El origen del nombre "Madrid", de Jaime Oliver Asín. Agencia Española de Cooperación Internacional. Madrid, 1991. - Las Calles de Madrid, de Pedro de Répide. Revisión de Federico Romero. Ed. Afrodisio Aguado. Madrid, 1972. - Historia de la Villa de Madrid, de José Antonio Vizcaíno.Ed. Óptima. Barcelona, 2000. - Atlas Ilustrado de la Historia de Madrid, de Pedro López Carcelén. Ediciones La Librería. Madrid, 2006. - Fuero de Madrid. Ediciones La Librería y Ayuntamiento de Madrid. Madrid, 2002. - Leyendas de Madrid, de Manuela Tomás Pascual y Claudia Cifuentes Tendero. Ediciones La Librería. Madrid, 2013. En este programa podréis escuchar esta música: - Caesar March (B.S.O. de la película Quo Vadis) y Marcha Romana, ambas de Miklos Rozsa. Orquesta filarmónica y Coro de Praga. Bud Movies Soundracks. - Tuchia Al-Masarsky (Nubas arábigo-andalusíes del s.XIII). Orquesta marroquí de Tetuan, Dir. Abdessadak Chkara y José Luis Ochoa de Olza. EMI. - Congaudeant catholici (Códice Calixtino, siglos XII-XIII). Coro de monjes del Monasterio benedictino de Santo Domingo de Silos. Dir. Ismael Fernández de la Cuesta. EMI. - Santa María, strela do dia y De muitas guisas (Cantigas de Santa María de Alfonso X el Sabio, s.XII-XIII). Capilla Musical y Escolanía de la Abadía de Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. EMI. - Mia yrmana fremosa y Quantas sabedes amar (Cantigas de Amigo, s.XII-XIII). Atrium musicae. Dir. Gregorio Paniagua y José Luis Ochoa de Olza. EMI. - Stella splendens (El Llibre Vermell, S.XIV). Capilla Musical y Escolanía de la Abadía de Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. EMI. - Prólogo. Tema principal de la película Harry Potter y la Piedra Filosofal, de John Williams. Orquesta filarmónica de Londres. Atlantic. - Imperial March (BSO de Star Wars), de John Williams. Orquesta filarmónica de Londres. 20th Century Records. - Romance del Conde Olinos, interpretado por el Maestro Joaquín Díaz. Cancionero de Romances. Warner Music. ____________________________________________ Puedes contactar con nosotros en: www.podcastizo.com @PodCastizo oyentes@podcastizo.com _________________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. "PodCastizo" (R) Es una marca registrada. Todos los derechos reservados.

Comenzamos el año, y lo hacemos viajando a la antigüedad remota. La voz de nuestros antepasados, a través de las crónicas y leyendas, refrendadas por los restos arqueológicos, nos permiten asomarnos y poder contemplar en todo su esplendor cómo era el primer Madrid. Viajaremos a un paraje fértil, repleto de bosques, surcado por arroyos y rico en aguas subterráneas. Un lugar donde todavía podemos contemplar a los osos, reinando sobre multitud de animales. En esta tierra carpetana, los romanos fundan villas agrícolas, trazan calzadas y establecen posadas para las postas en el viaje desde la cercana Complutum. Los Visigodos también se enseñorean de estas tierras y dejan la huella de su vigoroso paso. Sin embargo, son los musulmanes los que, en el año 856 de nuestra era, establecen una atalaya defensiva en la cornisa de una elevada colina en la margen del río Manzanares. Madrid acaba de nacer. Acompáñanos en un viaje a la Edad Media, para conocer Madrid en sus primeros siglos de historia. Pasearemos por sus calles, visitaremos sus murallas, curiosearemos en sus tiendas, conoceremos a sus gentes, a sus ciudadanos más ilustres, y podremos, por un momento, respirar y sentirnos como si el tiempo se hubiera detenido y nos hubiéramos transportado a un mundo antiguo pero, aunque nos parezca imposible, aún presente en nosotros mismos y en nuestra ciudad. Esperamos que os guste. Participan en este programa: Mayra Alminar, Kike Vera, Kukufeto Flanders, Sara Black y el Prof. Valnadú. En las redes sociales sigue al mando Naidú. @PodCastizo https://www.facebook.com/podcastizo Bibliografía empleada sobre "El origen de Madrid y el Madrid medieval": - El origen del nombre "Madrid", de Jaime Oliver Asín. Agencia Española de Cooperación Internacional. Madrid, 1991. - Las Calles de Madrid, de Pedro de Répide. Revisión de Federico Romero. Ed. Afrodisio Aguado. Madrid, 1972. - Historia de la Villa de Madrid, de José Antonio Vizcaíno.Ed. Óptima. Barcelona, 2000. - Atlas Ilustrado de la Historia de Madrid, de Pedro López Carcelén. Ediciones La Librería. Madrid, 2006. - Fuero de Madrid. Ediciones La Librería y Ayuntamiento de Madrid. Madrid, 2002. - Leyendas de Madrid, de Manuela Tomás Pascual y Claudia Cifuentes Tendero. Ediciones La Librería. Madrid, 2013. En este programa podréis escuchar esta música: - Caesar March (B.S.O. de la película Quo Vadis) y Marcha Romana, ambas de Miklos Rozsa. Orquesta filarmónica y Coro de Praga. Bud Movies Soundracks. - Tuchia Al-Masarsky (Nubas arábigo-andalusíes del s.XIII). Orquesta marroquí de Tetuan, Dir. Abdessadak Chkara y José Luis Ochoa de Olza. EMI. - Congaudeant catholici (Códice Calixtino, siglos XII-XIII). Coro de monjes del Monasterio benedictino de Santo Domingo de Silos. Dir. Ismael Fernández de la Cuesta. EMI. - Santa María, strela do dia y De muitas guisas (Cantigas de Santa María de Alfonso X el Sabio, s.XII-XIII). Capilla Musical y Escolanía de la Abadía de Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. EMI. - Mia yrmana fremosa y Quantas sabedes amar (Cantigas de Amigo, s.XII-XIII). Atrium musicae. Dir. Gregorio Paniagua y José Luis Ochoa de Olza. EMI. - Stella splendens (El Llibre Vermell, S.XIV). Capilla Musical y Escolanía de la Abadía de Santa Cruz del Valle de los Caídos. Dir. Luis Lozano. EMI. - Prólogo. Tema principal de la película Harry Potter y la Piedra Filosofal, de John Williams. Orquesta filarmónica de Londres. Atlantic. - Imperial March (BSO de Star Wars), de John Williams. Orquesta filarmónica de Londres. 20th Century Records. - Romance del Conde Olinos, interpretado por el Maestro Joaquín Díaz. Cancionero de Romances. Warner Music. ____________________________________________ Puedes contactar con nosotros en: www.podcastizo.com @PodCastizo oyentes@podcastizo.com _________________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. "PodCastizo" (R) Es una marca registrada. Todos los derechos reservados.

Matthew Sweet profiles scores for films inspired by notions of time, space and travel prompted by Christopher Nolan's new film "Interstellar". The programme includes music by Bill McGuffie from "Daleks - Invasion Earth 2150 AD"; by David Arnold from "Stargate"; by Alan Silvestri from "Back to the Future"; Miklos Rozsa from "Time After Time"; John Barry from "Somewhere In Time"; Nathan Johnson from "Looper"; and by Michael Andrews from "Donnie Darko". The classic score of the week is Russell Garcia's score for the 1960 version of "The Time Machine". #soundofcinema.

This week on Alcohollywood, we’re staging an intervention by making a drinking game for a film about alcoholism! Returning guests Andrew and Julia join us to take on Billy Wilder’s 1945 classic The Lost Weekend, about an alcoholic writer (Ray Milland) who endures a rock bottom bender over the course of three days. The film takes an unflinching look at the morality and psychology of alcoholism, a first for a movie of this type. The film is helped along with some creative imagery and Miklos Rozsa’s unsettling theremin score. (It's also a fantastic double feature with Double Indemnity, another Wilder film we've covered on the show before as well.) Take a listen as we share in Don’s dilemmas with our custom cocktail and drinking game!

Matthew Sweet introduces a selection of film music inspired by 19th-century women alongside this week's featured new release, "The Invisible Woman" - about Charles Dickens's relationship with the actress Nelly Ternan. The programme features an interview with the composer , Ilan Eshkeri, and looks back at some of his past work, including "Stardust", "Coriolanus" and "The Ring of the Nibelungs". Other featured sound tracks include music by Carl Davis, Miklos Rozsa, Elmer Bernstein, Bryan Byrne and Georges Auric. Matthew's Classic Film Score of the Week is Richard Rodney Bennett's "Far From The Madding Crowd". #soundofcinema.

On the program today you are going to hear a three hour plus program dedicated to music written for anything but film, TV and video games by film, TV and video game composers. It is not uncommon place for film composers to cross over and dabble in the concert hall. Many of the greatest Golden Age film composers actually got their start in the concert world – Erich Wolfgang Korngold, for instance, wrote many operas and symphonies years before scoring such films as THE ADVENTURES OF ROBIN HOOD and THE SEA HAWK. Others like John Williams, James Horner, Miklos Rozsa, Danny Elfman, Cliff Eidelman, Bernard Herrmann – just to name a few – have also written spectacular and challenging music to be enjoyed away from the silver screen. This is actually CINEMATIC SOUND RADIO’s third CONCERT MUSIC BY FILM COMPOSERS program. This is our first since 2006. On the show today you will be hearing classical works by such composers as Andrew Pearce, Christopher Gordon, Lee Hodridge, Robert Folk, Elliot Goldenthal, Jerry Goldsmith, James Seymour Brett and more.

On the program today you are going to hear a three hour plus program dedicated to music written for anything but film, TV and video games by film, TV and video game composers. It is not uncommon place for film composers to cross over and dabble in the concert hall. Many of the greatest Golden Age film composers actually got their start in the concert world – Erich Wolfgang Korngold, for instance, wrote many operas and symphonies years before scoring such films as THE ADVENTURES OF ROBIN HOOD and THE SEA HAWK. Others like John Williams, James Horner, Miklos Rozsa, Danny Elfman, Cliff Eidelman, Bernard Herrmann – just to name a few – have also written spectacular and challenging music to be enjoyed away from the silver screen. This is actually CINEMATIC SOUND RADIO’s third CONCERT MUSIC BY FILM COMPOSERS program. This is our first since 2006. On the show today you will be hearing classical works by such composers as Andrew Pearce, Christopher Gordon, Lee Hodridge, Robert Folk, Elliot Goldenthal, Jerry Goldsmith, James Seymour Brett and more.

On the program today you are going to hear a three hour plus program dedicated to music written for anything but film, TV and video games by film, TV and video game composers. It is not uncommon place for film composers to cross over and dabble in the concert hall. Many of the greatest Golden Age film composers actually got their start in the concert world – Erich Wolfgang Korngold, for instance, wrote many operas and symphonies years before scoring such films as THE ADVENTURES OF ROBIN HOOD and THE SEA HAWK. Others like John Williams, James Horner, Miklos Rozsa, Danny Elfman, Cliff Eidelman, Bernard Herrmann – just to name a few – have also written spectacular and challenging music to be enjoyed away from the silver screen. This is actually CINEMATIC SOUND RADIO’s third CONCERT MUSIC BY FILM COMPOSERS program. This is our first since 2006. On the show today you will be hearing classical works by such composers as Andrew Pearce, Christopher Gordon, Lee Hodridge, Robert Folk, Elliot Goldenthal, Jerry Goldsmith, James Seymour Brett and more.

The novelist Jonathan Coe explores how a joint concert with Arthur Honegger led to the composer Miklós Rózsa writing for film, including the scores for 'Ben-Hur', 'Spellbound' and 'The Lost Weekend'.

UT goes epic, with soundtrack music by Basil Poledouris, Jeremy Soule, Ilan Eshkeri, Howard Shore and Miklos Rozsa.

UT goes epic, with soundtrack music by Basil Poledouris, Jeremy Soule, Ilan Eshkeri, Howard Shore and Miklos Rozsa.

UT goes epic, with soundtrack music by Basil Poledouris, Jeremy Soule, Ilan Eshkeri, Howard Shore and Miklos Rozsa.

UT goes epic, with soundtrack music by Basil Poledouris, Jeremy Soule, Ilan Eshkeri, Howard Shore and Miklos Rozsa.

Van Heflin, Barbara Stanwyck, Kirk Douglas and Lizabeth Scott all turn in stellar performances in this 1946 gem. For much of its running time the film lacks many of the visual hallmarks of the noir style, but Robert Rossen's pitch-perfect script, delivered with such subtlety by the fine cast, builds a dark backstory that makes what might have been a standard melodrama into a noir masterpiece: the drama of a few individuals is transformed into a parable of post-war America. Add Edith Head's gorgeous costumes and Miklos Rozsa's superlative score, and you have one of the most enjoyable films ever made. This podcast is brought to you by Clute and Edwards, of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.

Miklos Rozsa is best known for his many film scores, including those for The Thief of Baghdad, Ben-Hur and Spellbound, but he has also written several concertos and chamber and instrumental music. In conversation with Roy Plomley, he recalls his childhood in Hungary, his music studies in Germany, and his work after the war in Hollywood.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Symphony No 9 by Ludwig van Beethoven Book: Collected poems by Endre Ady Luxury: Manuscript paper and pens

Miklos Rozsa is best known for his many film scores, including those for The Thief of Baghdad, Ben-Hur and Spellbound, but he has also written several concertos and chamber and instrumental music. In conversation with Roy Plomley, he recalls his childhood in Hungary, his music studies in Germany, and his work after the war in Hollywood. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Symphony No 9 by Ludwig van Beethoven Book: Collected poems by Endre Ady Luxury: Manuscript paper and pens