http://www.filmscoreclicktrack.com/2010/02/i-can-see-clearly-now/?utm_source=rss&utm_medium=rss&utm_campaign=i-can-see-clearly-now Sun, 05 Feb 2012 22:23:23 +0000 hourly 1 http://wordpress.org/?v=3.3 http://www.filmscoreclicktrack.com/2010/02/i-can-see-clearly-now/#comment-1956 Jim Lochner Fri, 26 Feb 2010 16:36:21 +0000 http://www.filmscoreclicktrack.com/?p=5153#comment-1956 Thanks for your kind words, Dave, and welcome to the site! Anyone who appreciates Alfred Newman is a new friend of mine. LOL I agree that his music seems more instinctual than some other composers, and perhaps that's why I connect with it. And trust me, there will definitely be more Newman in the future. :) Thanks for your kind words, Dave, and welcome to the site! Anyone who appreciates Alfred Newman is a new friend of mine. LOL I agree that his music seems more instinctual than some other composers, and perhaps that’s why I connect with it. And trust me, there will definitely be more Newman in the future. :)

]]> http://www.filmscoreclicktrack.com/2010/02/i-can-see-clearly-now/#comment-1952 Dave Gilstram Fri, 26 Feb 2010 07:19:37 +0000 http://www.filmscoreclicktrack.com/?p=5153#comment-1952 Just discovered the site and will likely be a frequent visitor, especially after enjoying your appraisal of Alfred Newman's Song of Bernadette score, and the accompanying - and wonderfully contrasting -clips from that film and from Airport (which, coincidentally, I watched just last week, mainly to appreciate the music in context). Among the pioneering masters of The Golden Age, Newman is my personal favorite - for his melodic gift, unique expressivity of his string section ("The Newman Strings"), versatility, and fluidity. His work rarely sounds like symphonic forms borrowed and adapted as underscoring (except when appropriate to a particular narrative). He seems instead to connect directly to character and emotion, allowing form to flow from the drama. I've always thought this might have been a benefit of his not being trained specifically as a composer - plus some innately brilliant musicality. In any case, the description of his approach to the scene as quoted in your article bears out my sense of him as a consummate musical dramatist. Again, thanks. Just discovered the site and will likely be a frequent visitor, especially after enjoying your appraisal of Alfred Newman’s Song of Bernadette score, and the accompanying – and wonderfully contrasting -clips from that film and from Airport (which, coincidentally, I watched just last week, mainly to appreciate the music in context). Among the pioneering masters of The Golden Age, Newman is my personal favorite – for his melodic gift, unique expressivity of his string section (“The Newman Strings”), versatility, and fluidity. His work rarely sounds like symphonic forms borrowed and adapted as underscoring (except when appropriate to a particular narrative). He seems instead to connect directly to character and emotion, allowing form to flow from the drama. I’ve always thought this might have been a benefit of his not being trained specifically as a composer – plus some innately brilliant musicality. In any case, the description of his approach to the scene as quoted in your article bears out my sense of him as a consummate musical dramatist. Again, thanks.

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