Alex North | |
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Born | Isadore Soifer December 4, 1910 Chester, Pennsylvania |
Died | September 8, 1991 Los Angeles, California |
(aged 80)
Spouse | Gladlynne Sherle Treihart (1941–1966) Annemarie Hoellger Anna Sokoloff |
Alex North (December 4, 1910 – September 8, 1991) was an American composer who wrote the first jazz-based film score (A Streetcar Named Desire) and one of the first modernist scores written in Hollywood (Viva Zapata!).
Born Isadore Soifer in Chester, Pennsylvania to Russian Jewish parents[1], North was an original composer probably even by the classical music standards of the day. However, he managed to integrate his modernism into typical film music leitmotif structure, rich with themes. One of these became the famous song, "Unchained Melody". Nominated for fifteen Oscars but unsuccessful each time, North is one of only two film composers to receive the Lifetime Achievement Academy Award, the other being Ennio Morricone. North's frequent collaborator as orchestrator was the avant-garde composer Henry Brant. He won the 1968 Golden Globe award for his music to The Shoes of the Fisherman (1968).
His best-known film scores include The Rainmaker (1956), Spartacus (1960), The Misfits (1961),The Children's Hour (1961) Cleopatra (1963), Who's Afraid of Virginia Woolf? (1966), The Devil's Brigade (1968), and Dragonslayer (1981). He composed the music for "The Wonderful Country" in a Mexican and southwestern US motif.
His commissioned score for 2001: A Space Odyssey (1968) is notorious for having been discarded by director Stanley Kubrick. North reused themes from the rejected score for The Shoes of the Fisherman, Shanks (1974), and Dragonslayer, but the score itself was unheard until composer Jerry Goldsmith rerecorded it for Varèse Sarabande in 1993. In 2007, Intrada Records released North's personal copies of the 1968 recording sessions on CD.
North was also commissioned to write a jazz score for Nero Wolfe, a 1959 CBS-TV series based on Rex Stout's Nero Wolfe characters, starring William Shatner as Archie Goodwin and Kurt Kasznar as Nero Wolfe.[2] A pilot and two or three episodes were filmed, but the designated time slot was, in the end, given to another series.[3][4] North's unheard score for Nero Wolfe and six recorded tracks on digital audio tape are in the UCLA Music Library Special Collections.[5]
Though North is best known for his work in Hollywood, he spent years in New York writing music for the stage; he composed the score, by turns plaintive and jarring, for the original Broadway production of Death of a Salesman. It was in New York that he met Elia Kazan (director of Salesman), who brought him to Hollywood in the '50s. North was one of several composers who brought the influence of contemporary concert music into film, in part marked by an increased use of dissonance and complex rhythms. But there is also a lyrical quality to much of his work which may be connected to the influence of Aaron Copland, with whom he studied.
His classical works include a Rhapsody for Piano, Trumpet obbligato and Orchestra. He was nominated for a Grammy Award for his score for the 1976 television miniseries Rich Man, Poor Man. North is also known for his opening to the CBS television anthology series Playhouse 90 and the 1965 ABC television miniseries FDR.
The American Film Institute ranked North's score for A Streetcar Named Desire #19 on their list of the greatest film scores. His scores for the following films were also nominated for the list:
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A list of notable characters from the NBC soap opera Days of Our Lives that significantly impacted storylines and debuted between January 1, 2000, and the end of 2009.
John Thomas "J.T." Brady was the "adopted" son of Abe and Lexie Carver, but after an infant switch by Stefano DiMera he was believed to be the second son of Hope Brady and Bo Brady.
After years of trying for a baby the natural way, Abe and Lexie Carver decide that they will adopt a child. When Lexie's father Stefano DiMera hears about the news, he is over joyed at the prospect of finally becoming a grandfather and asks that Abe and Lexie adopt the child of one of his distant relatives. The birth mother Marlo is in fact the niece of Dr. Rolf, Stefano's longtime assistant. However none the wiser to Lexie and Abe, Stefano is planning a plot whereby Marlo's baby would be switched with the baby of Bo and Hope's who Stefano at the time thought might be his or John Black's. After the births of the babies, Stefano has Dr. Rolf switch Hope's and Marlo's babies birth tags. So, the baby is instead taken home by Bo and Hope Brady and named John Thomas, getting his names from family friend John Black and "his" Great-Grandfather Dr. Thomas Horton.
In music, a theme is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms such as the fugue this may be known as the subject.
A theme may be perceivable as a complete musical expression in itself, separate from the work in which it is found (Drabkin 2001). In contrast to an idea or motif, a theme is usually a complete phrase or period (Dunsby 2002). The Encyclopédie Fasquelle defines a theme as "Any element, motif, or small musical piece that has given rise to some variation becomes thereby a theme" (Michel 1958–61).
Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective (Reti 1951; Reti 1967). Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis (Lerdahl 2001, 5).
Music based on one theme is called monothematic, while music based on several themes is called polythematic. Most fugues are monothematic and most pieces in sonata form are polythematic (Randel 2002, 429). In the exposition of a fugue, the principal theme (usually called the subject) is announced successively in each voice – sometimes in a transposed form.
"Main Theme" is an instrumental track by English progressive rock band Pink Floyd on their third album, More. The track is played at the beginning of the film, when Stefan is waiting for someone to pick him up along a road to Paris.
The track begins with a panning gong that lasts as a drone sound for the whole piece; at 0:30 the Farfisa organ starts a progression of modal chords, that fades at 1:12 into a drum-bass iterative sequence, similar to, but slower than, the one featured at the opening of "Let There Be More Light". The organ played through a wah-wah pedal (1:20) plays a progression of background notes over the drum-bass line, while the untreated organ plays the main melodic notes (2:10). The slide guitar plays from the middle of the piece onward. The CD writing credit omits Mason.
The song has been covered in 1977 by French group Rosebud with an electro-funky style. It is available on their Discoballs album among other Pink Floyd covers.
Oh, my love, my darling,
I've hungered for your touch
A long, lonely time.
Time goes by so slowly
And time can do so much,
Are You Still Mine?
I need your love,
I need your love,
God speed your love to me!
Lonely rivers flow to the sea,
To the sea,
To the open arms of the sea.
Lonely rivers sigh,
"Wait for me, wait for me!"
I'll be coming home, wait for me!
Oh, my love, my darling,
I've hungered for your touch
A long, lonely time
Time goes by so slowly
And time can do so much,
Are You Still Mine?
I need your love,
I need your love,
God speed your love to me!
Lonely mountains gaze at the stars,
At the stars,
Waiting for the dawn of the day.
All alone, I gaze at the stars,
At the stars,
Dreaming of my love for away.
Oh, my love, my darling,
I've hungered for your touch
A long, lonely time.
Time goes by so slowly
And time can do so much,
Are You Still Mine?
I need your love,
I need your love,