Royal Albert Hall - London
Arthur Benjamin (1893-1960) was a composer, conductor and piano virtuoso Australian. He composed many orchestral works and even four operas, solo piano and also had an interesting career, being in charge, for example, to interpret the UK premiere of "Rhapsody in Blue" Gershwin of . But today I wanted to highlight another facet of his remarkable, what was the creator of soundtracks, in particular, his collaboration with Alfred Hitchcock in two movies. Benjamin
debuted in the field of film music in 1934 with films "The Seer" of Maurice Elvey and "The Scarlet Pimpernel" of
Harold Young . That same year would receive the commission to compose music for a film by Alfred Hitchcock , "The Man Who Knew Too Much" .
This film was one of the most successful of Hitchcock in its early English and decisively influenced subsequent jump to American industry. Though not yet reached the refined technique that would characterize his most mature, as can be seen on the tape a few details that anticipate the future great master of suspense.
This is also the first British film
Peter Lorre, a charismatic actor that he was Jewish and had fled Germany, where he starred in the masterpiece of Fritz Lang "M. The Vampire of Dusseldorf ", and characterized here as a villain bangs impossible, carried out a memorable performance, despite not even know English, having memorized his role phonetically.
The commission received Arthur Benjamin for this movie was not only to create a soundtrack that simply support the action, but also
needed a piece that would become key players in the plot.
And is that good Hitchcock came up to the climax of the film takes place in the Royal Albert Hall London, where the bad guys out to kill during the concert to a foreign leader at a particular moment the score, just at the moment that sounded a stroke of dishes.
The work he composed for that purpose Benjamin is
the "Storm Clouds Cantata" and can be heard in a long sequence full of tension. The piece was performed by the London Symphony Orchestra under the direction of H. Wynn Reeves to an audience of extras and then the sound would be synchronized in the final editing of the film.
Here's the famous original sequence version of "The Man Who Knew Too Much" 1934, while playing the music of Benjamin made to the effect:
musicvideoing
Hitchcock always said he was not happy with the final outcome of the
film, which was defined as "work of an amateur" . Therefore, in 1956 decided to film a new version of "The Man Who Knew Too Much" and although there are some variations in the script about the 1934, again the Royal Albert Hall again the context of top of the film sequence, for which again used "Storm Clouds Cantata" Arthur Benjamin of .
This time the charge of directing the Bernard Herrmann score was , author of the soundtrack of the film, and who can see it in front of the London Symphony Orchestra and Covent
Choir Garden and decided to respect for that essential moment the score created 22 years earlier by Benjamin , composer for whom he greatly admired.
In this sequence, the protagonist (the repellent Doris Day) is understanding what happened and prevent crime debate between risking the life of her kidnapped son or attend passively to the killing. Her husband (a wonderful James Stewart) comes to the audience and assumes that she is recounting what happened, triggering the sharp end.
All this is described by Hitchcock visually
9 minutes without dialogue, with 128 master plans that have passed the history of cinema, where the director gives a recital of narrative mastery and command of cinematic language, making the Royal Albert Hall and the music of Benjamin a character. All the tension builds up in a gradual crescendo , while Cantata evolves in a perfect combination of pictures and music and where to assemble the planes seems to be made following the score, reaching its culmination with the expected hit cymbals.
despite having the same facts
that appeared in the original sequence of the 1934 version, narrated how to be different notably, in an interesting exercise of self-correction in which Hitchcock shows a refined stylistic evolution and where every shot, framing and camera movement reveals the consummate genius of the British director.
A lesson in pure film of which we can then enjoy the music while listening Arthur Benjamin :
video
FilmScoreClickTrack
debuted in the field of film music in 1934 with films "The Seer" of Maurice Elvey and "The Scarlet Pimpernel" of
Harold Young . That same year would receive the commission to compose music for a film by Alfred Hitchcock , "The Man Who Knew Too Much" . This film was one of the most successful of Hitchcock in its early English and decisively influenced subsequent jump to American industry. Though not yet reached the refined technique that would characterize his most mature, as can be seen on the tape a few details that anticipate the future great master of suspense.
This is also the first British film
Peter Lorre, a charismatic actor that he was Jewish and had fled Germany, where he starred in the masterpiece of Fritz Lang "M. The Vampire of Dusseldorf ", and characterized here as a villain bangs impossible, carried out a memorable performance, despite not even know English, having memorized his role phonetically. The commission received Arthur Benjamin for this movie was not only to create a soundtrack that simply support the action, but also
needed a piece that would become key players in the plot. And is that good Hitchcock came up to the climax of the film takes place in the Royal Albert Hall London, where the bad guys out to kill during the concert to a foreign leader at a particular moment the score, just at the moment that sounded a stroke of dishes.
The work he composed for that purpose Benjamin is
the "Storm Clouds Cantata" and can be heard in a long sequence full of tension. The piece was performed by the London Symphony Orchestra under the direction of H. Wynn Reeves to an audience of extras and then the sound would be synchronized in the final editing of the film. Here's the famous original sequence version of "The Man Who Knew Too Much" 1934, while playing the music of Benjamin made to the effect:
musicvideoing
Hitchcock always said he was not happy with the final outcome of the
film, which was defined as "work of an amateur" . Therefore, in 1956 decided to film a new version of "The Man Who Knew Too Much" and although there are some variations in the script about the 1934, again the Royal Albert Hall again the context of top of the film sequence, for which again used "Storm Clouds Cantata" Arthur Benjamin of . This time the charge of directing the Bernard Herrmann score was , author of the soundtrack of the film, and who can see it in front of the London Symphony Orchestra and Covent
Choir Garden and decided to respect for that essential moment the score created 22 years earlier by Benjamin , composer for whom he greatly admired. In this sequence, the protagonist (the repellent Doris Day) is understanding what happened and prevent crime debate between risking the life of her kidnapped son or attend passively to the killing. Her husband (a wonderful James Stewart) comes to the audience and assumes that she is recounting what happened, triggering the sharp end.
All this is described by Hitchcock visually
9 minutes without dialogue, with 128 master plans that have passed the history of cinema, where the director gives a recital of narrative mastery and command of cinematic language, making the Royal Albert Hall and the music of Benjamin a character. All the tension builds up in a gradual crescendo , while Cantata evolves in a perfect combination of pictures and music and where to assemble the planes seems to be made following the score, reaching its culmination with the expected hit cymbals. despite having the same facts
that appeared in the original sequence of the 1934 version, narrated how to be different notably, in an interesting exercise of self-correction in which Hitchcock shows a refined stylistic evolution and where every shot, framing and camera movement reveals the consummate genius of the British director. A lesson in pure film of which we can then enjoy the music while listening Arthur Benjamin :
video
FilmScoreClickTrack
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