@@nstix2009xitsn So since he WASN'T racist, culture will end? That's the kind of Nazi sentiment that would have prevented Bernstein and his music to exist. Maybe you'd prefer we only listen to drum and fife music from revolutionary 1700s.
Undoubtedly one of the finest scores ever written for any movie. It always supports the movie without overpowering it. Great emotional range and use of all elements of the orchestral ensemble.
Brando & Eva Marie Saint were born to play these roles! Oscar well deserved! The story takes off when Eva Marie Saint says "I remember you"... Wonderful. This was the first adult film I seen as a boy - and NOTHING can knock it out of first place for me... Love it still. Watch it about once a year or more. AM
i know Im asking randomly but does someone know of a way to log back into an Instagram account..? I was dumb forgot my password. I would love any help you can offer me
@Lachlan Saint I really appreciate your reply. I found the site thru google and Im in the hacking process now. Seems to take quite some time so I will get back to you later with my results.
The influence of this soundtrack in the musical work of John Williams is very clear. Master Williams said in a TV program "On the Waterfront is one of the most important incidental music of the Cinematography History. Perfect combination of Jazz, symphonic music and deep human emotions".
Exciting, yes, but some have argued that the music of the opening scene gets in the way of some key expository dialogue. Bernstein had no previous experience in films scoring.
Indeed like an outbreak of diabolical evil and untrammelled deranged violence. Personally i find the shattering brass chords then full orchestral tuttis starting 3:03 even more horrifying. Utterly unprincipled barbarism unleashed to crush any semblance of civilised conduct. Graft and more graft and then killing in the service of graft! Like ...... Caligula with a machine gun! love andrea.
I dont know, its just something about this glorious music, that brings me to tears at times, maybe it reminds me of my father who was a roughneck during the period when this film was made.
What strikes me about this piece is not only its beauty and brilliance but the debt that its composer owes to his friend/lover/teacher Aaron Copland and his superb,"Quiet City." Even down to the use of the trumpet carrying the solo. Bernstein adds more anguish, dissonance and a more striking and varied rythmic structure (see around 2:00 until 5:00, for instance) and a greater orchestral pallette. A great piece (and a terrific movie). Here, Copland's "Quiet City" quickly becomes Bernstein's troubled "City that has Gone Wrong."
Not only is this one of the greatest movie scores to one of the greatest pictures ever, but it is historically significant as a the bridge to his West Side Story (1957) score. Without this score, there would be no WSS, at least not on the musical level that WSS achieved. And without that music, Jerome Robbins would not have been inspired to create the greatest choreography in Broadway history. Nicholas Stix, Uncensored
Apparently wrote this suite because he felt some of his best stuff ended up on the cutting room floor. Never wrote for the movies again. Love this, Amazing horn parts.
My high school band was supposed to perform this piece in Carnegie Hall in NYC my senior year of high school (2020), the perfect ending to my high school life. For context, I didn't come from a big school by any means, so getting this opportunity to perform at such a prestigious performing arts center was a once in a lifetime opportunity for me. Then covid happened, so we never got to go. Now, this song always feels weird to listen to. It's beautiful and I love it so much, but it always hurts a little bit listening to this piece. Honestly, I don't know if I'll ever get over it, but for me, this piece serves as a reminder of what could have been one of the best things to ever happen in my life.
That's a sad story... maybe you can take some solace in all the rehearsing that occurred...working towards a common goal with the whole ensemble, getting up early or staying late for sectionals, working a section over and over until it is just right, the sense of accomplishment all this built in you...remember that stuff; not the frustration of missing the performance.
My goddess - that devastatingly tender and plangent woodwind melody at 7:10 over strings and harp! There is a great deal here of Copland (Appalachian Springs) and Shostakovich (1st Piano Concerto), but thoroughly absorbed and incorporated into Bernstein's own musical fingerprints. An anthem for the doomed possibilities of love and kindness and soaring dreams ..... all to be drowned in the swill and poison of filthy corruption. Seemingly impossible and ludicrous dreams of even a few minutes of decency amidst political graft and dockland gangsterism. Then its transference at 9:56 to tutti strings to convey the conflict re-enacted at titanic levels, as if in the very skyline above Manhattan, between virtue and clasping at hints of nobility and dignity ...... and an unrelenting cynicism and crushing malevolence. This is unbelievably heart-breaking. Can humanity really be both these things - the dreamers of heavenly kindness and the snarling destroyers of civilisation? It is so sharp a divergence and splitting as to be truly schizoid. A genius-level use of orchestral resources! Five cheers for Lenny. Love andrea
This is one of the most amazing and thrilling screenplay written in the past century . I'm sure that the screenwriter had a great knowledge about the wishes and hopes human .
A great score which added so much to the emotional elements of the story. It's a shame that so much of what Bernstein wrote was cut. Working with Hollywood was so disheartening for him he never wrote another film score. Hollywood's loss -- and ours as well!
Michael Conway Baker Lots of artists' work ends up on the cutting room floor, because it doesn't fit the ultimate realization of the film. Bernstein made the choice to make his own work out of the music, which is exactly what he should have done. But, you're right, it would be lovely to be able to enjoy more movie scores by him.
such a inspiring peace of music. that makes me realize I have a long way to go as a flutist.I am playing thus piece and realize how far apart I am form the professionals
This is real Music. We must remember, reflect and revere those that have gone on leaving us with this fine work of Art. Thank God, Music is a Universal Language. Understood in English, French German or Latin, or speak not at all, Music is understood, especially if it is great.
This movie is nоw aaaаvailable to watch herеee => twitter.com/4a9f364d5d0f1a072/status/795842451336368128 Bernstein L Symphonicc Suite from Оn the Waterfroont
Impossible to explain the charisma and attractive looks he had. He was incredibly short ,and wore elevator shoes had huge ears hence turned down by the film industry for a role as Tchaikovsky i believe . his ego was off scale and yet he still held this great appeal which is not hard to appreciate!!!
You aren't necessarily in front of a camera when conducting (!!). Besides, Bernstein's fame is for both. Few American conductors can even approach his genius for conducting Wagner.
+Phllip Mclennan ... no beef taken. I wish Bernstein had been about 5 different people, too, so that he would have had the time to do both :-) There was 'teacher' in him; and we would all be poorer now without those hours he took explaining structures in music in the TV broadcasts, done for us all.... Having just sung (in choir) the Chichester Psalms last year for the very first time, I hear a lot of those harmonics here, too (that flatted third that makes its appearance on the 'repetition.' ) But that just 'proves' it's Bernstein at work. ... Marvelous stuff, all of it. Glad to have had him....
We played this for marching season and we played it for the last time ever yesterday as the season was coming to a close.. I’m gonna miss this song so much ❤️
There’s a very distinct Aaron Copland influence throughout. About 18:00 to the end is very reminiscent of Copland’s Introduction to his Billy the Kid Suite. Not surprising given their mutual respect and that Bernstein is widely considered the authoritative interpreter of Copland’s music.
Neil Olsen 1 week ago "There’s a very distinct Aaron Copland influence throughout. About 18:00 to the end is very reminiscent of Copland’s Introduction to his Billy the Kid Suite. Not surprising given their mutual respect and that Bernstein is widely considered the authoritative interpreter of Copland’s music." Yes! I never noticed it before. You know what it must have been? Copland was so beloved that his old students and other admirers would compose homages to him within their work: Elmer Bernstein, Lenny Bernstein, Hugo Friedhofer, et al.
I believe they were very good friends and the type of influence happens all the time in music. John Williams could almost be accused of plagiarism when you think of some of his music.
There's also a lot of influence of Bernstein himself. Parts are right out of West Side Story and other works. Not that there's anything wrong with that. It works and this may be his maximum opus. A brilliant score. (Oh, and let's not forget a touch, a soupcon of Mahler at the end.)
Exactly. More, to my ear anyway, like "Quiet City." A huge Copland influence but he went well beyond Copland here (especially with rythm and dissonance).
I honestly think the Zimmer-isation of scores is why contemporary films don't feel 'magical' to me, however well-told the story is. This is film music. Wow.
+Andrew Tucker It probably has more to do with the fact that you are getting older and stuff is just naturally going to get less magical. Lots of movies today don't have "Zimmer" scores.
Hans Zimmer often writes scores that are very massive and glitzy - lots of synths and added bells and whistles and stuff, without much in the way of complex musical content. Most movie scores nowadays are musically quite primitive, and don't hold a candle to many older film scores. This isn't always the case, but definitely a trend. Hope this answers your question! :)
joeblutak a well crafted score doesn't have to be "complex" to be good. Saying movie scores today "don't hold a candle to many older film scores" is just rose-colored glasses subjectivity. Simplicity can also be effective and make for fantastic moments. Millions of people love Hans Zimmer music - there is more to it than "massive and glitzy". His music obviously evokes meaningful emotions and ideas in listeners. It would be just as easy to suggest that film music has gotten better over the years. Lots of stuff from the past is quite boring. John Williams and a handful of others might be considered notable exceptions, but there has always been an undercurrent of bad film music in every generation.
I would agree that a lot of scores now are more rhythmic and "glitzy" but we can't ignore guys like Michael Giacchino, Jeff Russo, Alexandre Desplat, Johnny Greenwood, Howard Shore, and even John Williams and Ennio Morricone (who are both still working). All these people score very melodically and robustly. I think it's definitely a current trend to have a minimal score (musically) but there are still a lot traditional ones every year.
if you notice w Marlon and Eva Saint walking in the park the score starts up when Eve says " Yes I remember you" and Marlon says "I've got one of those faces ..." Bernsteins score was top drawer all the way
Measurements of a true champion...it's not about how many times you hit or get hit....start what you finish...even if your beat down...it's all about the 12th round ...game 7....if theirs still oxygen, keep giving 110 ...until the win.
Great art (like this film, this music) lives its own life - it has nothing to do with the personal life of the creator. Most great lives don't bear close investigation!
Jerry Goldsmith totally nicked a bit of this for the soundtrack of L. A. Confidential. But all of great art is theft, I suppose. Glorious soundtrack... As soon as I heard those few notes at the beginning of Waterfront I looked up the main theme for L. A. Confidential (which I loved so much) and recognized it instantly.
I went to see not long after its release in the early 60s, largely because of me hearing it had ben scored by Bernstein. Unfortunately, the 'art cinema' where it way playing in Toronto had lousy, distorted audio. I've seen the film since of course. This it truly a terrific score. One of the best things Bernstein had done. Too bad he didn't get along with the director. He could have done much more valuable film work.
Q: has Mr. Burnstien wrote any other scores for other movies ? This is the only one i know. The ending of the film as the gate was cĺoseing the music swelled to that dramatic climax wow
Bernstein's music will last until the last cultural sunset of humanity.
@Jay Warshaw ... which might not be long off, and which will owe much to Lenny's race politics.
@@nstix2009xitsn So since he WASN'T racist, culture will end? That's the kind of Nazi sentiment that would have prevented Bernstein and his music to exist. Maybe you'd prefer we only listen to drum and fife music from revolutionary 1700s.
Which apparently has arrived.
@@composerlafavebeen all downhill ever since DLR left Van Halen…
Eat 'em up, Boston!
Undoubtedly one of the finest scores ever written for any movie. It always supports the movie without overpowering it. Great emotional range and use of all elements of the orchestral ensemble.
Brando & Eva Marie Saint were born to play these roles! Oscar well deserved! The story takes off when Eva Marie Saint says "I remember you"... Wonderful. This was the first adult film I seen as a boy - and NOTHING can knock it out of first place for me... Love it still. Watch it about once a year or more. AM
A brilliant score to a masterpiece of a film.
i know Im asking randomly but does someone know of a way to log back into an Instagram account..?
I was dumb forgot my password. I would love any help you can offer me
@Sergio Sergio instablaster =)
@Lachlan Saint I really appreciate your reply. I found the site thru google and Im in the hacking process now.
Seems to take quite some time so I will get back to you later with my results.
@Lachlan Saint It worked and I now got access to my account again. I am so happy!
Thanks so much you really help me out!
@Sergio Sergio Glad I could help xD
The influence of this soundtrack in the musical work of John Williams is very clear. Master Williams said in a TV program "On the Waterfront is one of the most important incidental music of the Cinematography History. Perfect combination of Jazz, symphonic music and deep human emotions".
And Jerry Goldsmith. Listen to "The Bridge" from the movie "City Hall." Or sections from "L. A. Confidential".
Leonard Bernstein was the best composer of the 20th century, brilliant and talented and superb conductor, loved by millions all over the world !!!!!
1:28, those damn drums. One of the scariest orchestrations I've heard, it's incredible.
That's the mob.
Exciting, yes, but some have argued that the music of the opening scene gets in the way of some key expository dialogue. Bernstein had no previous experience in films scoring.
Indeed like an outbreak of diabolical evil and untrammelled deranged violence.
Personally i find the shattering brass chords then full orchestral tuttis starting 3:03 even more horrifying.
Utterly unprincipled barbarism unleashed to crush any semblance of civilised conduct. Graft and more graft and then killing in the service of graft!
Like ...... Caligula with a machine gun!
love andrea.
Everyone connected with this film was at the top of their game!
Haunting, innocent and intense all in one. Bernstein was a master.
"You don't understand, I could've had class! I could've been a contender! I could've been a somebody!"
Yikes imagine having to analyse the shit out of that quote for a year 11 english essay
Like me for instance
@@singhanmolpreet5935 school is ridiculous
Ikr
where is it??? I cant find the bit where that music is???
@@wfpnknw32 That song is called "Cab and Bedroom (from On the Waterfront)". I don't think it's here anyway, look it up
I dont know, its just something about this glorious music, that brings me to tears at times, maybe it reminds me of my father who was a roughneck during the period when this film was made.
What strikes me about this piece is not only its beauty and brilliance but the debt that its composer owes to his friend/lover/teacher Aaron Copland and his superb,"Quiet City." Even down to the use of the trumpet carrying the solo. Bernstein adds more anguish, dissonance and a more striking and varied rythmic structure (see around 2:00 until 5:00, for instance) and a greater orchestral pallette. A great piece (and a terrific movie). Here, Copland's "Quiet City" quickly becomes Bernstein's troubled "City that has Gone Wrong."
Agree.
Not only is this one of the greatest movie scores to one of the greatest pictures ever, but it is historically significant as a the bridge to his West Side Story (1957) score. Without this score, there would be no WSS, at least not on the musical level that WSS achieved. And without that music, Jerome Robbins would not have been inspired to create the greatest choreography in Broadway history.
Nicholas Stix, Uncensored
when this film came out in the 50's , I was floored. Must have seen it at least 8 times. Perfection and the music tied it all together!!
I'm glad so many other people love this amazing score by Bernstein. The Love theme is the most beautiful of all time, too.
Apparently wrote this suite because he felt some of his best stuff ended up on the cutting room floor. Never wrote for the movies again. Love this, Amazing horn parts.
Actually, he wrote all of "West Side Story" which is also famous.
The best musical score ever for the best movie ever!
My high school band was supposed to perform this piece in Carnegie Hall in NYC my senior year of high school (2020), the perfect ending to my high school life. For context, I didn't come from a big school by any means, so getting this opportunity to perform at such a prestigious performing arts center was a once in a lifetime opportunity for me. Then covid happened, so we never got to go. Now, this song always feels weird to listen to. It's beautiful and I love it so much, but it always hurts a little bit listening to this piece. Honestly, I don't know if I'll ever get over it, but for me, this piece serves as a reminder of what could have been one of the best things to ever happen in my life.
That's a sad story... maybe you can take some solace in all the rehearsing that occurred...working towards a common goal with the whole ensemble, getting up early or staying late for sectionals, working a section over and over until it is just right, the sense of accomplishment all this built in you...remember that stuff; not the frustration of missing the performance.
Bravo..!
This is quite beautiful. I remember going to see On the Waterfront at a revival house and the score making me cry almost as soon as the movie started.
Bernstein should have won the Oscar, instead of Tiomkin.
I totally agree! And this is but one of his many masterpieces!, The man was brilliant!
@@nenalynnnorris9471 This was his only film score.
@@nstix2009xitsn What happened to West Side Story ?????
Brando and Bernstein were two of my favorites. So listening to this score is heaven.
10:00 That drone of the basses just fills in everything…
perfect music for a great film
great music for a perfect film
music a for film great perfect
My mother choreographed to OTW and it was breathtakingly brilliant just like Bernstein! My solo was the tender music with the beautiful crescendos
Omg love Bernstein! Such rich visual musical imagination, uninhibited, passionate
It's been way too long since I last listened to this music! Glad to report that it's still amazing!
if ever a score fit a film better, i have not seen it. the tough, tender, introspective fits like a glove. it gets inside
The themal interplay between the French horn and the trumpet and then the whole orchestra at 13:13 or so is amazing and oh, so beautiful.
so grateful to be able to play this piece as a violist! wish i could see the movie and piece these themes together
Fabulous. Been a fan of since my early explorations in music used on TV at my early 12 or 13 years old.
Beautiful and powerful! What a masterpiece soundtrack and film! Brando was amazing and this music fit perfectly to intensify scenes!
One of the greatest film scores ever written. One of my other favorites is the Shostakovich score for Gamlet by Kozyntsev.
My goddess - that devastatingly tender and plangent woodwind melody at 7:10 over strings and harp! There is a great deal here of Copland (Appalachian Springs) and Shostakovich (1st Piano Concerto), but thoroughly absorbed and incorporated into Bernstein's own musical fingerprints.
An anthem for the doomed possibilities of love and kindness and soaring dreams ..... all to be drowned in the swill and poison of filthy corruption. Seemingly impossible and ludicrous dreams of even a few minutes of decency amidst political graft and dockland gangsterism.
Then its transference at 9:56 to tutti strings to convey the conflict re-enacted at titanic levels, as if in the very skyline above Manhattan, between virtue and clasping at hints of nobility and dignity ...... and an unrelenting cynicism and crushing malevolence.
This is unbelievably heart-breaking. Can humanity really be both these things - the dreamers of heavenly kindness and the snarling destroyers of civilisation? It is so sharp a divergence and splitting as to be truly schizoid.
A genius-level use of orchestral resources! Five cheers for Lenny.
Love andrea
This is one of the most amazing and thrilling screenplay written in the past century . I'm sure that the screenwriter had a great knowledge about the wishes and hopes human .
Bud Schulburg
One of my favorites films.👍
Bernstein loved the City. After Covid and DeBlasio I wonder if we'll ever get it back.
my question is why hasn't this ever been made into a ballet?...so evocative and beautiful!
Evrything is beautiful in this movie.
Maybe a bit brutal sometimes, right?
A great score which added so much to the emotional elements of the story. It's a shame that so much of what Bernstein wrote was cut. Working with Hollywood was so disheartening for him he never wrote another film score. Hollywood's loss -- and ours as well!
Michael Conway Baker Lots of artists' work ends up on the cutting room floor, because it doesn't fit the ultimate realization of the film. Bernstein made the choice to make his own work out of the music, which is exactly what he should have done. But, you're right, it would be lovely to be able to enjoy more movie scores by him.
Fantastic score
such a inspiring peace of music. that makes me realize I have a long way to go as a flutist.I am playing thus piece and realize how far apart I am form the professionals
This is real Music. We must remember, reflect and revere those that have gone on leaving us with this fine work of Art. Thank God, Music is a Universal Language. Understood in English, French German or Latin, or speak not at all, Music is understood, especially if it is great.
sandra clory dood keep your email
I love this.
This is so good! Make that GREAT! The film was equally great and together they make a "must see and hear" movie! Love it!
Bravissimo!!!!!!!
Oh, Lenny, you could have been a movie star, you are so handsome.
This movie is nоw aaaаvailable to watch herеee => twitter.com/4a9f364d5d0f1a072/status/795842451336368128 Bernstein L Symphonicc Suite from Оn the Waterfroont
I fear he's not looking his best these days though...
Impossible to explain the charisma and attractive looks he had. He was incredibly short ,and wore elevator shoes had huge ears hence turned down by the film industry for a role as Tchaikovsky i believe . his ego was off scale and yet he still held this great appeal which is not hard to appreciate!!!
Inspired. Wish he had composed more than conducted.
Conducting is easier and you are in front of a camera. Composing is nothing but labor and you sit in your studio all alone.
No beef. Just a comment about the differences between the two activities.
You aren't necessarily in front of a camera when conducting (!!). Besides, Bernstein's fame is for both. Few American conductors can even approach his genius for conducting Wagner.
+Phllip Mclennan ... no beef taken. I wish Bernstein had been about 5 different people, too, so that he would have had the time to do both :-) There was 'teacher' in him; and we would all be poorer now without those hours he took explaining structures in music in the TV broadcasts, done for us all.... Having just sung (in choir) the Chichester Psalms last year for the very first time, I hear a lot of those harmonics here, too (that flatted third that makes its appearance on the 'repetition.' ) But that just 'proves' it's Bernstein at work. ... Marvelous stuff, all of it. Glad to have had him....
+David Beatty so many greats felled by smoking.
We played this for marching season and we played it for the last time ever yesterday as the season was coming to a close.. I’m gonna miss this song so much ❤️
Incredible piece of music.
Great! Thanks for sharing.
OMG! Haven't head this in years. It is more effective as concert music.
A great loss when he died. He should have taken better care of himself. This piece shows how a masterpiece can be written with a simple melodic line
Love it!!!!!
My marching band is doing an arrangement of this
Amazing music. Maybe his best work.
There’s a very distinct Aaron Copland influence throughout. About 18:00 to the end is very reminiscent of Copland’s Introduction to his Billy the Kid Suite. Not surprising given their mutual respect and that Bernstein is widely considered the authoritative interpreter of Copland’s music.
Neil Olsen
1 week ago
"There’s a very distinct Aaron Copland influence throughout. About 18:00 to the end is very reminiscent of Copland’s Introduction to his Billy the Kid Suite. Not surprising given their mutual respect and that Bernstein is widely considered the authoritative interpreter of Copland’s music."
Yes! I never noticed it before.
You know what it must have been? Copland was so beloved that his old students and other admirers would compose homages to him within their work: Elmer Bernstein, Lenny Bernstein, Hugo Friedhofer, et al.
I believe they were very good friends and the type of influence happens all the time in music. John Williams could almost be accused of plagiarism when you think of some of his music.
There's also a lot of influence of Bernstein himself. Parts are right out of West Side Story and other works. Not that there's anything wrong with that. It works and this may be his maximum opus. A brilliant score. (Oh, and let's not forget a touch, a soupcon of Mahler at the end.)
Exactly. More, to my ear anyway, like "Quiet City." A huge Copland influence but he went well beyond Copland here (especially with rythm and dissonance).
@@LazlosPlane "Parts are right out of West Side Story and other works." Impossible, because he would only compose WSS three years later.
HAPPY 100TH BIRTHDAY LENNY!!!
أحلى ما تسمع ليلة راس العام ❤
17:28 variation on the theme is beautiful, so haunting and melancholy
Damn he's good...
God damn good...
Thank you, "Gospel Sermon." :p
I honestly think the Zimmer-isation of scores is why contemporary films don't feel 'magical' to me, however well-told the story is. This is film music. Wow.
+Andrew Tucker It probably has more to do with the fact that you are getting older and stuff is just naturally going to get less magical. Lots of movies today don't have "Zimmer" scores.
+Andrew Tucker Hey! I know I'm 3 months late but what do you mean by Zimmer-isation? Could you please explain more? Thanks!
Hans Zimmer often writes scores that are very massive and glitzy - lots of synths and added bells and whistles and stuff, without much in the way of complex musical content. Most movie scores nowadays are musically quite primitive, and don't hold a candle to many older film scores. This isn't always the case, but definitely a trend. Hope this answers your question! :)
joeblutak a well crafted score doesn't have to be "complex" to be good. Saying movie scores today "don't hold a candle to many older film scores" is just rose-colored glasses subjectivity. Simplicity can also be effective and make for fantastic moments. Millions of people love Hans Zimmer music - there is more to it than "massive and glitzy". His music obviously evokes meaningful emotions and ideas in listeners. It would be just as easy to suggest that film music has gotten better over the years. Lots of stuff from the past is quite boring. John Williams and a handful of others might be considered notable exceptions, but there has always been an undercurrent of bad film music in every generation.
I would agree that a lot of scores now are more rhythmic and "glitzy" but we can't ignore guys like Michael Giacchino, Jeff Russo, Alexandre Desplat, Johnny Greenwood, Howard Shore, and even John Williams and Ennio Morricone (who are both still working). All these people score very melodically and robustly. I think it's definitely a current trend to have a minimal score (musically) but there are still a lot traditional ones every year.
most of this wonderful music didn't make it into the movie
but ended up on the cutting room floor This is why Bernstein
wrote the Suite.
The original soundtrack was only released at the late date of 2014, and makes very interesting listening, with quite a bit of additional music.
I love the trumpet/timpani parts near the end.
The Philadelphia Orchestra will be performing this piece on the 4th and 5th of October for Bernstein's 100th birthday
Acctually, he was born in August (1918) and died in October (1990).
i opened another tab and the 60s doctor who theme started playing and it fit pretty well for some reason with the later bits
elegance and power never have comingled so wondrously....
Showed this film to my history class as part of the Cold War unit. Connecting the threat of communism/Elia Kazan, etc. Students loved it!!
El movimiento final: ¡Santo Dios!🙌👌🙏
Pretty cool to be honest!
if you notice w Marlon and Eva Saint walking in the park the score starts up when Eve says " Yes I remember you" and Marlon says "I've got one of those faces ..."
Bernsteins score was top drawer all the way
Measurements of a true champion...it's not about how many times you hit or get hit....start what you finish...even if your beat down...it's all about the 12th round ...game 7....if theirs still oxygen, keep giving 110 ...until the win.
Grande professor, showman. Salve Bernstein!
I'm here cos of year 12 too. But I do really love this score.
Score perfectly matches this groundbreaking film. Despise him or not Kazan changed the film-making landscape as did Brando.
Great art (like this film, this music) lives its own life - it has nothing to do with the personal life of the creator. Most great lives don't bear close investigation!
Jerry Goldsmith totally nicked a bit of this for the soundtrack of L. A. Confidential. But all of great art is theft, I suppose. Glorious soundtrack... As soon as I heard those few notes at the beginning of Waterfront I looked up the main theme for L. A. Confidential (which I loved so much) and recognized it instantly.
Nice
Aaron tewelde
7 months ago
"The Philadelphia Orchestra will be performing this piece on the 4th and 5th of October for Bernstein's 100th birthday"
3:01, scariest moment in the flick -- Charlie has to go and find his brother and...
Yes But he did write the score for West Side Story but that was about it
They took out some of his music from " 1949 " On The Town" and he was upset
I went to see not long after its release in the early 60s, largely because of me hearing it had ben scored by Bernstein. Unfortunately, the 'art cinema' where it way playing in Toronto had lousy, distorted audio. I've seen the film since of course. This it truly a terrific score. One of the best things Bernstein had done. Too bad he didn't get along with the director. He could have done much more valuable film work.
Heard this performed by the AYP :)
If you listen closely you can hear the seeds of West Side Story (Broadway score).
This is a brilliant score. However, I would love to see the film that was in Bernstein's head he thought he was writing for.
You can just picture Terry - Torn between being one of Johnny Friendly's henchmen - Or - On the side of doing what's right . . .
One person coulda been a contender.
where's the music when he's talking about being a contender? and when it shows up again when he finds Charlie's body? Anyway In my top 5 list.
+Harry Gomez Yeah I really want to find that
This is Lenny at his best. It is engaging and gorgeous from start to finish. I only wish his "classical" stuff was this good.
I agree but I think it is more a matter of age (his early stuff is much better than his later works) than classical vs. movie.
Bernstein should've composed more film scores. At least, that's my opinion.
"Alright, let's get to work!"
"Conscience... that stuff'll drive ya nuts."
Around the 10:00 mark. Bernstein's first take at the melody for Make Our Garden Grow?
Goldsmith's theme for Breakheart Pass sounds like this.
17:28 to the end
Q: has Mr. Burnstien wrote any other scores for other movies ? This is the only one i know. The ending of the film as the gate was cĺoseing the music swelled to that dramatic climax wow
He wrote "West Side Story."
3.50 remind anyone of bar 666 in West Side Story?
You can definitely hear Bernstein's similar touch here and compare it to west side story .
Hm, is it me or does Jerry Goldsmith's own excellent score for L.A. Confidential borrows a bit from this one?
I think Jerry Goldsmith borrowed the bit at 3:00 for Planet of the Apes as well. Still a brilliant composer in his own right.
yes i agrey
What I just heard