channel!
While, to this day, his music has never really been
distributed in the United States, Alain Morisod's career debuted in 1971 with
"Concerto pour un été", a melody he composed, which has sold over two million
copies worldwide! Alain Morisod is Swiss, and currently resides in
Geneva on the shores of Lac Léman. His very particular "sound", a cross between
ballad and new-age and which doesn't resemble anyone else's, has, to this day, earned him
a total of 48 gold or platinum records, for a total of 16 million albums sold throughout
the world. Extremely popular in Canada, Switzerland
and Germany, he has also toured in Japan and Brazil. Astonishingly enough, not one
American producer has ever approached him! But for the past several months now, thanks to
the satellite channel Multi Choice C-3, 847, the American public is finally discovering
him and inquiring more and more about this Swiss artist with a very personalized sound
that certain folks are calling...
see more on his site http://www.morisod.comCrazy
Qualquer músico brasileiro nasce
sabendo que Czardas e O Milionário são mais do que simples músicas excelentes,são
referencias.
http://books.dreambook.com/incrivel/eleuterio.html
Gone with the wind (E o vento levou
. .
is a haunting musical which traces the tragic love story of a beautiful opera and a young
composer ...Andrew Lloyd Webber was born on March 22, 1948 and grew up in a home in South
Kensington, England. The home was filled with music and he showed, from an early age an
extraordinary natural talent. The Phantom of the
Opera premiered in London in 1986 with Michael Crawford as The Phantom and Sarah
Brightman as Christine. Phantom tells the story of a strange, disfigured man who
lives in the bowels of the Paris Opera House. He becomes obsessed with Christine, a young
singer, and takes it upon himself to further her career at any cost--even if it means
murder.
French singer Charles Trenet - known as "le
fou chantant" (The Singing Madman) - was born in Narbonne on May 18,
1913. His father was a notary, his mother a bohemian who ran off with another
man. Trenet was a creative child, producing poems and paintings in his teens. After
being expelled from school he moved to Berlin where his stepfather introduced him to the
world of film. Back in Paris in the 1930s he worked for Pathé and haunted
artistic Montparnasse and Montmartre, befriending Jean Cocteau, Max Jacob and Antonin
Artaud. His singing/songwriting career bloomed, abetted by Josephine Baker. He served in
WW II but was demobbed in 1937 and performed new hits - J'ai ta main, Je chante, and Y a
d'la joie. He also acted in films. During this period, Trenet was accused of being a
German collaborator because, like Maurice Chevalier and Edith Piaf, he lived and
worked in occupied France. While his wartime songs like La Douce France (1943) boosted
French morale, lyrics like La Marche des Jeunes were widely considered Petainist
propaganda.
CONTINUE.......http://www.frenchculture.org/music/events/02trenetcontest.html
FRENCH MUSICAL SUPERSTAR TRENET DEAD AT 87 = PARIS, Feb. 19 (UPI) -- French superstar
singer Charles Trenet, whose voice launched a thousand songs, died in a Paris hospital
early Monday, after suffering two strokes. He was 87.
Dubbed the "singing fool," Trenet gained public
attention as a soldier in 1930s Marseille, singing in a hotel cabaret. Over the next
70-plus years, the French singer recorded more than 1,000 songs, published several books
of poetry along with three novels.
http://www.highbeam.com/library/doc0.asp?DOCID=1P1:41938689&refid=ip_almanac_hf
________________________________________________________________________________
Un homme et une femme (A man and a woman (1966)
Lai is a composer certainly in the top three french movie composers
...www.jazzandclassical.com/product/ B00004SZPL/AsinSearch/3
Francis Lai, le compositeur de musiques de film français dont la carrière
aura marqué les dernières décennies de succès internationaux tels que Love Story, Un
Homme et Une Femme, Vivre Pour Vivre, Bilitis...http://www.francis-lai.com/
Movie
soundtrack 1960)
ASCAP 
the '70s and '80s. If things had been different in the world of the '30s,
however, Ernest Gold might've been one of the last of the post-romantic composers on the
European continent, making his way melodically in stark opposition to a musical world
increasingly dominated by atonalism and jarring non-melodies. What made that impossible,
and sent Gold (like such older contemporaries of his as Miklos Rozsa and Franz Waxman)
to the United States, was Hitler. So Ernst Gold (as he was born and raised in Austria)
came to Hollywood as Ernest Gold, and became one of the last European romantic music
figures to carve a name for himself in film music. Gold was born on July 13,
1921, to a Viennese family with long connections to music. His maternal grandfather was a
student of Anton
Bruckner and subsequently became the president of the Society of Friends of Music, a
fraternal organization founded by Johannes Brahms. His mother
was a singer and his father an amateur violinist who had once studied music with the
operetta composer Richard Heuberger. The family was not only musically inclined but very
open-minded in what they permitted the boy to aspire to -- reportedly, even at the age of
10, just about at the point when music was entering talking pictures in a serious way, he
expressed the desire to become a film composer in Hollywood, no less, and as a teenager he
was known for attending movies simply to hear the scoring. Among those whose work
impressed the young Gold was Max Steiner, a fellow
Viennese descended from an equally well-established family, some 40 years older than he,
who had made his way in Hollywood very nicely. Gold started playing the piano and violin
at age six, and by the time he was eight he'd begun composing songs. He might've been a
younger rival to Erich
Wolfgang Korngold, a composer-performer prodigy of 30 years earlier (who also ended up
in Hollywood), writing a full-length opera when he was 13, but for the fact that the
Vienna of the '30s was too chaotic a place for a boy of any talent -- especially from a
Jewish family -- to make too much of an impression. In the waning days of the
Austro-Hungarian Empire, there had been room for the young Korngold to make a name for
himself as a latter day Mozart, but in the Austria of the mid-'30s, there was mostly
danger for someone of Gold's ethnic and religious heritage. Hitler's rise to power in 1933
in Germany put a mortal threat just across a lightly guarded border, maintained more by
good manners and a very shaky and unenforceable treaty from World War I, which fell with
the first approach of German troops five years later. Gold attended the State Academy of
Music in Vienna until the beginning of 1938, when he and his family fled Europe. They
arrived in New York in 1938, where the 17 year old resumed his music career by presenting
a piano concerto that received a performance that same year at Carnegie Hall. The NBC
orchestra also performed one of his symphonies, and he seemed to have the beginnings of a
music career, except that the kind of music that Gold wrote was out of favor with the
critics of the day. They all seemd to compare his composition to "movie music,"
and meant it as an insult. Gold didn't think it an insult, however, and liked what he
heard of film music, and so he ultimately moved to Hollywood. He arrived there in 1945, a
year in which all of the major studios were anticipating a major business downturn, yet
his work was impressive enough to land Gold a job, initially as an arranger and
orchestrator, mostly in B-movies and low-budget genre films. Had he been born a little
earlier and arrived at the end of the '30s, Gold might've followed the route of men like Hans J. Salter
into the ranks of the music department of Universal Pictures or one of the other major
studios, for a permanent, full-time job that offered the possibility of getting bigger,
better movies at some point. Instead, in 1945 Gold's early movie work carried him from
programmer to programmer, at smaller majors like Columbia Pictures and larger B-studios
like Republic Pictures, mostly involving westerns, melodramas, and the occasional crime
thriller, such as Universal's Smooth As Silk. For Lippert Pictures he scored the sci-fi
adventure Unknown World, which has retained some interest among genre enthusiasts, but
most of Gold's first 10 years in Hollywood were a struggle to make worthwhile music while
making a living and setting the stage for a real career -- during the course of his early
years in Hollywood, he also married vocalist Marni Nixon. Gold's best
opportunities during this period came as an arranger and orchestrator, for which he got to
work on two high-profile Columbia Pictures productions, Knock On Any Door and In A Lonely
Place, both directed by Nicholas Ray and both scored by George Antheil. Gold had
studied with Antheil, his older contemporary, and served as his orchestrator on a wide
range of film projects, including the music for such odd films as John L. Parker's
hour-long chiller Daughter Of Horror (best known as the movie that is being shown in the
theater in the Steve
McQueen movie The Blob, when the monster of that title attacks). Antheil himself took
a step up as a composer when he was engaged by Stanley Kramer to score the high-profile
melodrama Not As A Stranger and engaged Gold to orchestrate the music. More work for the
two followed from Kramer, including The Pride And The Passion in 1957. By 1958, Gold had gotten
his first film composition assignment from Kramer in the form of The Defiant Ones, which
received multiple Academy Award nominations and represented a huge step up for Gold from
the B-movies he had been scoring -- when Antheil fell ill that same year and was unable to
work on Kramer's film On the Beach, the music director's spot went to Gold. On The Beach was as
high a profile film as you could make in 1958, dealing with a controversial subject
(nuclear annihilation) and with a true all-star cast. Gold was able to come up with an
expressive score despite the edict imposed on him by the producer that the Australian
anthem "Waltzing Matilda" was to be used as often as possible in the background
music. Gold became Kramer's preferred composer for the next 20 years, working on every
major picture that the producer made. The big break for Gold as a popular composer came in
1960, and not from Kramer, oddly enough -- that year, he scored one major film for Kramer,
Inherit The Wind, which was a hit with critics and the public. But it was Gold's music for
Otto Preminger's production of Exodus that yielded his first (and only) enduring popular
music hit. Ironically, Exodus was also one of the most involved film projects of Gold's
career -- rather than hiring the composer to score the movie after it was shot, Preminger
hired Gold during pre-production and had him present during and around the actual shooting
of the movie, which meant that Gold spent almost a year on the film, an unusual luxury for
a movie composer (strangely enough, Miklos Rozsa had a similar
arrangement in working on Ben-Hur at just about the same time and also got superb
results). The film, dealing with the creation of the State of Israel, was a box office
monster, but even more successful was Gold's main theme, a rousing, memorable,
almost-Straussian piece that was covered by hundreds of artists in arrangements for
everything from full orchestra to electric guitar, perhaps most successfully as a piano
duet by Ferrante & Teicher. After that, Gold's name was made in Hollywood and popular
music circles. Kramer used Gold on most of his films from then on, including Judgment at
Nuremberg and It's a Mad, Mad, Mad, Mad World, all of which sold extremely well, based on
their own merits and the connection, by way of the composer, to Exodus. Ironically enough,
United Artists, which released the film Exodus, never had the original soundtrack, which
belonged to RCA-Victor -- the label eventually released a re-recording, and after Exodus
they held onto the soundtrack rights of anything Gold wrote for any movies released by UA.
Gold's film work for the remainder of the '60s was focused on such high-profile Kramer
productions as A Child Is Waiting, It's A Mad, Mad, Mad, Mad World, Ship of Fools, and The
Secret Of Santa Vittoria; the composer was equally adept at comedy and drama, and well
able to write in various period styles as well. Gold took a break from film work in the
late '60s to write the score for the Broadway musical I'm Solomon, and after Kramer's
theatrical film output slackened with the dawn of the '70s, he turned increasingly to
writing for television. Made-for-TV features such as the excellent Footsteps and Tom Horn
were sandwiched around occasional theatrical features such as Cross of Iron and Fun With
Dick and Jane. During the late '70s, as Gold's career was beginning
to wind down, his son Andrew Gold emerged as a
successful pop recording artist with the songs "Lonely Boy" and "Thank You
for Being a Friend." Gold kept himself busy when he wasn't writing film scores with
the Santa Barbara Symphony Orchestra and the Los Angeles Senior Citizen's Orchestra, which
he founded in the 1980s. He died in 1999, 11 years after writing his final film score, for
the television adaptation of Gore Vidal's Lincoln. ~ Bruce Eder, All Music Guide
more
Ennio Morricone= A composer whose name is synonymous with all that is good about film music, Ennio Morricone has had a revolutionary impact on the way films are scored, especially in his most celebrated genre: the spaghetti western. Born on 10 November 1928 in Rome, young Morricone studied at the Santa Cecilia Conservatory, where he became an accomplished trumpeter. He began scoring movies in the early 1960s and, during the early part of his career, Morricone occasionally adopted westernised pseudonyms such as Dan Savio and Leo Nichols in an attempt to endear himself to American producers. It was while using the 'Savio' name that Morricone first received international acclaim when a former classmate of his, fledgling director Sergio Leone, asked him to score his movie "Per Un Pugno di Dollari" - "A Fistful of Dollars'" - in 1964.......more= http://www.shef.ac.uk/~cm1jwb/morricon.htm
________________________________________________________________________________ vocalizada (vocalized....Can someone tell me the name?) (Alguém pode nos dizer o nome desta musica?
Click this arrow to return to
Composers home page (Clique esta flecha pra voltar à página inicial
de "compositores" )
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