The Los Angeles Philharmonic, in partnership with the Academy of Motion Picture Arts & Sciences, is doing a weekend of live-to-picture concerts of classic films. I’ve been asked to do the pre-concert talks, but instead of a lecture, I’m interviewing the conductors and current/former Academy music-branch governors. We began Thursday night with Leonard Rosenman’s score for the 1955 James Dean classic Rebel Without a Cause. Joining me in Disney Concert Hall were Scott Dunn, who not only restored the score for live performance (this was its debut) but also knew the composer quite well; and Charles Fox, the Grammy- and Emmy-winning composer and songwriter who is also a former Academy governor. We all talked about Rosenman’s life and career, and more specifically about his unique approach to Rebel — which combined his groundbreaking modernist style with a lively urban-jazz touch. Philharmonic performances of On the Waterfront and Casablanca will follow.
Composer Leonard Rosenman wrote one of his most colorful and ambitious scores for the original Lord of the Rings film, the animated one directed by Ralph Bakshi in 1978. Fantasy Records is reissuing the original 2-LP set on 180-gram vinyl, and in a lavish box loaded with extras (the movie poster, a map of Middle-earth, animation cel, lobby card repro, etc.). I was honored to be asked to contribute a new essay about Rosenman, just part of a giant new 16-page booklet to accompany the set. Definitely one for the collectors, and very likely to sell out quickly.
This was another favorite assignment. Most of this 5-CD set consists of TV-movie scores composed by some of the greats of the ’60s and ’70s: Lalo Schifrin (Earth II), Dave Grusin (Assignment: Vienna), Leonard Rosenman (The Phantom of Hollywood), Don Ellis (The Deadly Tower), Billy Goldenberg (High Risk), Jerry Fielding (Shirts / Skins) and George Duning (…Then Came Bronson). Throw in a TV-episode score by Johnny Williams (for The Eleventh Hour), George Romanis’ theme for Assignment: Munich and Richard Chamberlain’s vocal from Dr. Kildare and you really do have a potpourri of great TV music from 1962 to 1976. It was especially exciting to revisit Grusin’s three jazzy scores for the short-lived Robert Conrad spy series Assignment: Vienna (part of The Men trilogy on ABC, 1972-73) and Schifrin’s wonderful score for the Earth II pilot of 1971.