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Posted: |
Jun 20, 2010 - 8:24 AM
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By: |
OnyaBirri
(Member)
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I'm not sure there have been any tunes written in the last few decades that will become a part of the so-called "Great American Songbook," as defined largely by Frank Sinatra and his amazing Capitol albums of Porter, Kern, Rodgers and Hart, etc. So, (relatively) younger composers are at a disadvantage here.
Still, it's interesting when you look at film composers who were working at any point through the 1970s, and see who did and did not compose what would typically be called "standards." Mancini gave us "Moon River" and "Days of Wine and Roses." Legrand gave us too many to list, although I think of him more as a composer/arranger who also did film work than as a "film composer" per se. It is further interesting that a film composer with little name recognition outside of film score circles - Bronislau Kaper - wrote two: "On Green Dolphin Street" and "Invitation."
When I listen to Herrmann's "Scene de Amour" from "Vertigo" or the finale from "Fahrenheit 451," I always wonder what a Herrmann pop standard may have sounded like.
Among composers who worked in the 1960s during Mancini's peak, it's interesting that neither Goldsmith, Q, Lalo or Williams gave us a standard. Although Lalo's "Mission Impossible" theme is a widely-recognized instrumental, of course.
I may have overlooked something obvious with the aforementioned composers. Correct me if I'm wrong.
Virtually all film composers will fall into one camp or the other.
Not sure where I'm going with this or what my point is, it's just an interesting observation.
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Would David Raksin's LAURA fit the bill?
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Not very recent, Graham.
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Posted: |
Jun 20, 2010 - 9:43 AM
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By: |
Ebab
(Member)
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One of the few newer film songs that I would call part of the Great American Songbook (originally sung by Jevetta Steele, and re-recorded by Patti Austin, Céline Dion, Natalie Cole, Etta James, Barbra Streisand, among others), is Bob Telson’s “Calling You” from “Out of Rosenheim” (titled “Bagdad Café” in the U.S.).
Stephen Sondheim’s songs for “Dick Tracy”, in particular “Sooner or Later” should be regarded as part of the GAS, too.
… er … and that’s everything that I can think of right now. :-O There are few enough newer entries, and even less originate from the movies.
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Victor Young should definitely be mentioned in this category. His Stella By Starlight from THE UNINIVITED and Love Letters from LOVE LETTERS were both hits and continued to be covered by most pop singers and cabaret artists of the 50s, 60s and 70s.
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Posted: |
Jun 20, 2010 - 11:38 AM
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By: |
OnyaBirri
(Member)
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Does Michel Legrand make it into the "Great American Songbook"? Ignoring the American aspect, because I don't know enough about its parameters, there are plenty of composers who have composed "pop or jazz standards".
Horner has to qualify with the Titanic song.
John Barry is up there with several Bond songs.
Morricone has European standards to his name - such as Se Telefonando.
If you don't mind me saying so - I think the reason Herrmann doesn't have one to his name is that the idea of populism just wasn't his cup of tea, and the reason that Goldsmith doesn't may be down to him not being a sufficiently strong melodicist.
Legrand certainly makes the "standards" category. While not being from the US, many of his songs in the US are as well known as the so-called "Great American Songbook," so I give him honorary membership. Plus, the English lyrics are written by Americans, usually the Bergmans.
Not sure the Titanic song would qualify. If, for example, a singer was going to do this song with a pickup band, she would need to provide lead sheets. If she said she was doing "Moon River" or "Days of Wine and Roses," she would only need to provide the key.
Partially agree about Barry in the "standards" category.
The only Morricone songs (with lyrics) that got recorded much in the US during the period described were "Funny World" and "Hurry to Me." That I can think of at least.
Understand about Herrmann. But he could have done it if he wanted to - at least some of his themes are melodic and utilize fairly conventional bar structures.
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