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 Posted:   Sep 14, 2021 - 5:45 AM   
 By:   Sehnsuchtshafen   (Member)

Jerome Moross was a friend of the Antheil's, George and Böske.

In June 1979, Charles Amirkhanian interviewed Jerome Moross about his friendship with the long departed composer. Antheil had died 20 years ago, in 1959. His widow, Elizabeth “Böske” Antheil, aka Boski Markus had died the year before, in 1978.

I'm aware that this conversation has alredy been posted on this forum, at least once:
https://www.filmscoremonthly.com/board/posts.cfm?threadID=82376.

I'll repost it here, and I'll give you the background information about this conversation as well as a detailed breakdown of what's been talked about during that interview which I highly recommend to everyone interested in not only hearing the speaking voice of Moross but also hearing WHAT he has to say about Antheil, his privat life and career as a composer for concert halls as well as Antheil's lesser regarded commercial undertakings in Hollywood. Moross also talks about Copland, Brecht, Weill, Lambert and many others.

As few of you might know, Jerome Moross collaborated with Antheil on two films, and he talks about it in the interview, too.

Unfortunately, he was unable to name those two films by their titles. I'm pretty sure the first film was the Ben Hecht film "Once in a blue moon" (1935). The second film was, according to Moross, an experimental short feature film. He even remembers the exact day, when they recorded the music: June 12, 1941 - the day Hitler Germany invaded the Soviet Union.

Here is some music from "ONCE IN A BLUE MOON" - Moross orchestrated at least some parts of Antheil's score:

“Once in a Blue Moon” is an 1935 American film directed by Ben Hecht and Charles MacArthur with Lee Garmes responsible for the cinematography. Garmes acted also in the capacity as an associate director. It stars Jimmy Savo, Nikita Balieff and Cecilia Loftus.

George Antheil was 34 years old when he composed the score. Jerome Moross – then in his early twenties - assisted and orchestrated portions of Antheil’s score until he had to leave for another project.

About the story:
A group of Russian nobles fleeing the Bolshevik revolution meet up with a traveling circus. To escape their pursuers, they disguise themselves as members of the circus troupe.

This video contains music and some minor sound effects.




0:00 Hecht-MacArthur Productions Logo
0:21 Main Titles
1:33 Intro



Here is the link to the Jerome Moross interview:

- http://radiom.org/detail.php?et=interview&omid=AM.1979.06.19


From the description:

"Recorded in New York City on June 19, 1979, Charles Amirkhanian interviews Jerome Moross about his life-long friendship with George Antheil. Moross, a composer and conductor himself, met Antheil when he was living in New York in the early 1930s, and was impressed by his sophistication and international reputation as an avant-garde pianist and composer. Moross talks about Antheil’s difficulties in getting his modernist compositions performed in the U. S. and his gradual shift towards composing in a more traditional style in hopes of being more financially successful, but thereby also alienating many of his initial supporters. Clearly a fan of Antheil’s early style of composition, Moross describes Antheil as someone who had lost his way, forgoing the energetic, even dissonant works of the 1920s, yet refusing to keep abreast of the trends being successfully adopted by his fellow American composers. Moross also discusses Antheil’s personality, his perpetual boyish charm, and his relationship with his wife Böske, as well as with Noma Copley, to whom he dedicated his “Valentine Waltzes.“ Also partaking in this discussion is Moross’ wife, Hazel, and Carol Law."

(to be continued)

 
 Posted:   Sep 14, 2021 - 6:00 AM   
 By:   Sehnsuchtshafen   (Member)

If you don't have an account for radiOM, you can access the interview on various other websites, too.

Vimeo: https://vimeo.com/87562268

Internet Archive: https://archive.org/details/AM_1979_06_19


Here is my detailed breakdown of what's been talked about during that interview - there's lots of namedropping:

(Moross obviously smoked during the interview.)


In spring 1931, Moross met George Antheil for the first time (Moross was 17 years old, Antheil 30).
Bernard Herrmann
Böske (=> Antheil’s spouse, Elizabeth (Böske) Antheil, aka Boski Markus (1902–1978))
Helen Retires (opera, 1934)
Cagnes-sur-Mer (=> Montmartre de la Côte d'Azur)
Ben Hecht (=> Once in a Blue Moon, film score, 1935[?])
Moross as uncredited assistant and orchestrator
Hollywood
The Plainsman (film score, 1936)
Airplane Sonata (Second Piano Sonata) (1922)
Arthur Berger
WEVD (American brokered programming radio station with some news-talk launched in August 1927 by the Socialist Party of America)
Eugene Victor Debs
Charles Ives (1st Sonata, Songs)
Debussy, Stravinsky etc. (lots of namedropping of contemporary composers and works and conductors)
Transatlantic (opera, 1930)
War analysis
Daily News (column)
4th Symphony (1942)
Aaron Copland
Elie Siegmeister
Elliott Carter
Kurt Weill
Nadine Boulanger
GA’s style and its disappearance
Dmitri Shostakovich
“That’s what destroyed George as a composer.”
Archipelago (aka “Rhumba”, 1935)
McKonkey's Ferry
Helen Retires (opera, 1934)
Friedrich Kiesler, aka Frederick Kiesler
Neoclassicism
Volpone (opera, 1952)
John Erskine
“George’s personal life was a mess.”
The Twentieth Century (TV, 1957)
Walter Cronkite, CBS
George Antheil’s death
“George was a charmer.”
Misses Bach [?!]
[ca. 19:30, pause of a couple of seconds]
4th Symphony (1942)
Leopold Stokowski
5th Symphony (1948)
Eugene Ormandy
6th Symphony (1948)
Pierre Monteux
Sonata No. 4 for Violin and Piano, a.k.a. "New Second Violin Sonata" (1948)
Frederick Marvin
“He was interested only in what happened in Europe.”
Stravinsky, Shostakovich, Weill, Prokofiev
“The music was moving past him.”
Benjamin Britten
Ballet mécanique (1924, revision 1953)
Jazz Symphony (1925, revision 1955)
“George was not a good orchestrator. […] He used the instruments badly.”
Henry Brant
Antheil’s film music
[unnamed] short film (2-3 reels, experimental, ca. 1942)
Moross as orchestrator & composer in Hollywood
Moross’ theatre music (ballets, “The Golden Apple”, “Gentlemen, Be Seated!”, “The Last Judgement”)
[ca. 29:30, pause of a couple of seconds]
Siegel-Antheil Galleries: Series of concerts [concert & film]
Lindbergh's Flight (Der Lindberghflug) by Kurt Weill and Bertolt Brecht [later retitled as “The Flight across the Ocean” (German: Der Ozeanflug)]
The Threepenny Oper (L'Opéra de quat'sous) (German: Die 3 Groschen-Oper) (film)
G. W. Pabst
Aaron Copland (Piano Concerto)
Oscar Levant
Francis Poulenc
George Auric
Joan Miró
Böske
Antheil family stories
Noma Copley, Antheil’s mistress
Artur Rodzinski
“I liked Böske more than I did George.”
Arthur Schnitzler [S’s grandson => The Cardinal]
Béla Bartók
Herny W. Antheil, Jr.
The 1920s, 30s, 40s
Louise Brooks
Brecht & Weill
The Mother
Hanns Eisler
Maxim Gorky
“Brecht was an evil man.”
Paul Hindemith
‘Die Leuchte’ – Lindbergh's Flight (Der Lindberghflug) by Kurt Weill and Bertolt Brecht [later retitled as “The Flight across the Ocean” (German: Der Ozeanflug)]
The Threepenny Oper / Rise and Fall of the City of Mahagonny / The Seven Deadly Sins
Constant Lambert
Darius Milhaud
La création du monde (The Creation of the World)
The Rio Grande (and other Lambert works)
Lord Berners
Thomas Beecham
The Rio Grande recording by André Previn

* * *


======================

See also these George Antheil topics:

BALLET MECANIQUE (1924) – Score & Concert Music
https://filmscoremonthly.com/board/posts.cfm?threadID=144905

George Antheil, Cecil B. De Mille & Boris Morros – UNION PACIFIC (1939) – The rejected score
https://filmscoremonthly.com/board/posts.cfm?threadID=144656

ANGELS OVER BROADWAY (aka BEFORE I DIE) (1940)
https://filmscoremonthly.com/board/posts.cfm?threadID=144770

SPECTER OF THE ROSE (1946)
https://filmscoremonthly.com/board/posts.cfm?threadID=144602

THAT BRENNAN GIRL aka TOUGH GIRL (1946/1951) – also presenting some clips from other Antheil scores
https://filmscoremonthly.com/board/posts.cfm?threadID=144512

WE WERE STRANGERS (1949)
https://filmscoremonthly.com/board/posts.cfm?threadID=144944

HOUSE BY THE RIVER (1950)
https://filmscoremonthly.com/board/posts.cfm?threadID=144679

THE SNIPER (1952)
https://filmscoremonthly.com/board/posts.cfm?threadID=145107

THE JUGGLER (1953)
https://filmscoremonthly.com/board/posts.cfm?threadID=144559

JESSIE JAMES' WOMEN (1954) – Film Song “CARELESS LOVER” performed by Lita Baron
https://filmscoremonthly.com/board/posts.cfm?threadID=144708

HUNTERS OF THE DEEP (1954)
https://filmscoremonthly.com/board/posts.cfm?threadID=145484

NOT AS A STRANGER (1955)
https://filmscoremonthly.com/board/posts.cfm?threadID=144803

THE PRIDE AND THE PASSION (1957) – 2009 discussion concerning a possible rerecording
https://filmscoremonthly.com/board/posts.cfm?threadID=59888

THE TWENTIETH CENTURY (1957-1966) – 20TH CENTURY WITH MIKE WALLACE (1994-2005)
https://filmscoremonthly.com/board/posts.cfm?threadID=145267

 
 
 Posted:   Sep 14, 2021 - 6:30 AM   
 By:   villagardens553   (Member)

Thank you so much for posting. I'll have to delve into this. I like some of Antheil's concert works, and Moross's scores. I'm curious to hear what he says about Weill. . . .

 
 Posted:   Sep 14, 2021 - 7:10 AM   
 By:   Yavar Moradi   (Member)

Thanks so much for this! Love both composers.

Yavar

 
 Posted:   Sep 15, 2021 - 4:10 AM   
 By:   Sehnsuchtshafen   (Member)

Thank you so much for posting. I'll have to delve into this. I like some of Antheil's concert works, and Moross's scores. I'm curious to hear what he says about Weill. . . .


Well, Moross considered Kurt Weill as a "pure genius" - he couldn't be clearer about it during that interview.


Here is an archival recording of George Antheil's "McKonkey’s Ferry Overture" - it's a piece Moross liked very much.




F. Charles Adler · Vienna Philharmonic Orchestra (1958)


...and a newer recording:



BBC Philharmonic Orchestra · John Storgårds (2019)

 
 
 Posted:   Sep 15, 2021 - 1:53 PM   
 By:   Rozsaphile   (Member)

Great material on Antheil -- thanks.

When I first discovered the LP collection of the wonderful Donnell Library on 53rd Street in the early 1960s, the symphonies of Antheil caught my eye. I had seen The Pride and the Passion and wondered what else he had written. The series of symphony recordings made it seem as if Antheil had joined the standard repertory. Sadly that does not seem to have been the case. Good to see him getting consideration here.

 
 Posted:   Sep 16, 2021 - 7:23 AM   
 By:   Sehnsuchtshafen   (Member)

So, how did Antheil's mistress, Noma Copley Rathner look like?

https://www.christies.com/lot/lot-man-ray-nomas-hands-c-1949-4479056

(sorry, can't be embedded here)

MAN RAY (1890-1976)
Noma's Hands, c. 1949

It sold for $36,000.

 
 Posted:   Sep 17, 2021 - 12:43 AM   
 By:   Sehnsuchtshafen   (Member)

Archipelago "Rhumba" - also briefly discussed in the Moross interview:



hr-Sinfonieorchester · Hugh Wolff (2000)


Boski and George at home in Hollywood. Photo: Nina Luce Bevis

https://images.findagrave.com/photos/2013/171/112691053_137186341442.jpg

 
 Posted:   Sep 17, 2021 - 11:45 AM   
 By:   Sehnsuchtshafen   (Member)

Here are a few questions for you:

1) What's the name of the experimental film that Antheil scored with Moross' assistance in the early 1940s?

2) Who directed it?

3) Who is Misses Bach? - Amirkhanian mentions her name at 19:10.

4) Did that Italian biography MMM mentioned in the old thread linked above ever come out? - I couldn't find any reference to it.



By the way, Mark Alburger's lengthy and interesting blog about Antheil's life and career, published in 2013, gives you good context info regarding the Moross interview.

Here's the link: https://21st-centurymusic.blogspot.com/2013/10/george-antheil-mark-alburger.html



Back to Noma Copley fka Noma Rathner.

George Antheil dedicated his Symphony No. 5 'Joyous' (1947–48) to her.


The 1959 world premiere recording, Herbert Haefner conducting the Vienna Philharmonic Orchestra:


Symphony No. 5 “Joyous,” Allegro




Symphony No. 5 “Joyous,” Adagio molto




Symphony No. 5 “Joyous,” Allegretto giocoso




Wolff and Storgårds also recorded that piece many years later.

 
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