Jerome Moross was a very fine composer for films. At one time in his early days he orchestrated for George Antheil. Moross had a distinctive style of his own. If you love THE BIG COUNTRY you might also like his score from THE JAYHAWKERS! (1959). Another Western with a completely different story. Dave, may I suggest to you a brief talk about Hugo Friedhofer's THE BEST YEARS OF OUR LIVES?
I once came across a very revealing quote by Copland, in which he praised Jerome Moross as having created a type of "American" sound, while he (Copland) had not yet settled on what would become HIS own trademark American/Western idiom. I have searched high and low, but still can't find the exact quote. It's well-known that Copland was seeking to move away from his European "modernist" style into something much more accessible and "financially viable" during the Depression years. But it's fascinating to read of his discovery of Moross (around 1935-36), at the very time he (Copland) discovered his own familiar sound. Moross joined Copland's Young Composer's Group in 1936, and Copland went on to become known as the "originator" of the Western idiom when, in fact, the elusive quote in question seemed to suggest that it was MOROSS WHO INFLUENCED COPLAND during this crucial stage of his development. I met and corresponded with Susanna Tarjan-Moross (the composer's daughter) in 1995, when I conducted her father's fascinating opera/musical "The Golden Apple", the first time it had been presented with full orchestra since its 1954 premiere. I believe it was during that time that I came across Copland's quote. LR
Another Hurwitz revelation; a composer I was not really aware of, even if the movie was. I then found his symphony, conducted by Falletta. While perhaps not as 'memorable' as the best of Copeland, I would be delighted to sit through a live performance anytime!
Fun fact: director William Wyler detested Moross's score for "The Big Country" and insisted on hiring another composer to redo the job. But preview audiences were so enthusiastic about the music, especially the opening theme, that co-producer and star Gregory Peck persuaded Wyler to back down. Moross got an Oscar nomination and Wyler, who hated being proven wrong, never worked with Peck again.
That's not the reason why they didn't work together again. They became friends again but didn't work again. So it's not Wyler being too proud. He just was no especially pleasant director to work with.
Thanks for this video. One of my favourite film scores and one of the best opening sequences in a film. The music from the credit sequence is one of the ringtones I use on my phone. Thanks again.
I have heard various performances - concert and on LP/CD - of this fine film score. The opening title music, accompanying Saul Bass's great visuals - is up among the very best in the Western film genre. I have always appreciated versions which provide a strong string tone in the title music and the British conductor Stanley Black does a fine job in that respect - that was available on a CD collection/recording here in the UK.
A great score for a classic movie that I've had in my collection since VHS days. Thanks for giving it a nod, and for your ongoing recognition of the film score genre.
Personally, I do love Dave talking about movie music. Reminds me each time of such happy moments in my life viewing and listening to the movies. So perhaps something much more serious from me now: THANK YOU AMERICA for the genuine generosity. One can say trivialise the culture, the land, etc., but it's a real source of culture despite anything beside 🙂
I recall that Moross was heading west when he stopped off at a place, and when stepping out and seeing the sunset over the landscape, found the inspiration for the main theme coming almost by design.
Great stuff! Grew up watching this flick (and countless other Westerns) with my old man. Of the newer crop of darker “revisionist” Westerns, I’m very fond of Kevin Costner’s Open Range. Michael Kamen’s score is a great addition to the genre.
Jerry Goldsmith was another big Western film composer but the westerns he scored are generally not that well known (LONELY ARE THE BRAVE, RIO CONCHOS, STAGECOACH, HOUR OF THE GUN, BANDOLERO!, 100 RIFLES, RIO LOBO, WILD ROVERS, THE RED PONY, TAKE A HARD RIDE etc.).
Thanks for drawing attention to this much under-appreciated genre. It’s surprising to me that so relatively few composers have repackaged and attempted to publish their best material in a format suitable for concert presentation.
You mentioned Newman. How the West Was Won is one of the most recognizable themes in movie history, ranking right up there with Magnificent Seven....which, by the way, I've been addicted to these last few days. The Kunzel/Cinncinati recording is stunning.
I was taken to see How the West Was Won as a kid when I knew little or nothing of symphonic music. I loved Newman's score from the start (which meant a six minute overture/medley behind the curtain.). I had the lp for years until it was released on cd. (And whatever happened to the Whiskeyhill Singers?)
OH YESSSS! :) ... The known fact: on the original recording (released recently by Quartet Records, as you pointed out) the piano was played by non other than - Johnny Williams, who later became that famous John! :) ... Oh and Tony Bremner made some good recordings of film and tv music.
I'm in awe of these movie studio orchestras playing intricate brand new music. They didn't rehearse for hours, maybe one run through looking for misprints. Symphonic orchestras spend too much time in rehearsal satifyi8ng the egos of conductors who are trying to have a séance with dead composers.
Hey, Dave. Talking about the origin of the Western film music idiom made me think about some of Puccini's music in Girl of the Golden West. Seems like I've seen part of a silent film based on a similar story that excepted (stole) Pucinni's music (without vocals) and used it as background music. And if that's correct, where did Puccini get the sound? Might be worth a video.
He certainly studied American idioms of the period just as he had Japanese and would later study Chinese. Like so many opera composers of the period (1870s into the 1920s) he was big on local color and genre painting. Then he went even more into a Debussyian pentatonic idiom to capture the feel of wide open spaces and looming snowcapped mountains.
@@bbailey7818 Quite right and thanks for your comments. I guess my question would be what did Puccini listen to. Most American composers were writing things that had a Victorian sensibility, or there was Charles Ives being crazy. The respected ones were probably modeling after Brahms. There was the minstrel show tradition, But what did Puccini hear that allowed him to move to that idiom. I can't find the links.
