A few thoughts on Howard Shore's "Mrs. Doubtfire"

Yesterday, I watched Mrs. Doubtfire, a comedy directed by Chris Columbus in 1993 and starring Robin Williams, Sally Field, Pierce Brosnan and Harvey Fierstein. Being part of my favourite movies of my childhood, having watched it again after a long time was a beautiful experience. Even if you haven't watched it for years, you still remember every single sequence, the sound of Robin Williams' entertaining voices and which funny accidents were going to follow. Some lines you didn't understand back then (because you were too young to understand them) now appear hilarious and make you appreciate the movie even more (e.g. quoting Mrs. Doubtfire to Pierce Brosnan's character: "[...] Dear, you own that big expensive car out there? Well, they say a man who has to buy a big car like that is trying to compensate for smaller genitals."). After all these years, this movie still holds a special place in my heart, not only thanks to Robin Williams' unforgettable performance, its fabulous script and plot, but also thanks to Howard Shore's music. 

 

When we think of Howard Shore, the first thing that would come into our minds is his contribution to the legendary trilogy of The Lord of the Rings, probably followed by the anticipated The Hobbit in the near future. His music for Mrs. Doubtfire is one of his "smaller" scores, a sparkling little diamond, showing Shore's talent to write a charming comedy score with a deeply moving undertone.

Howard Shore created a very simple concept for the score. He composed the main theme ("Mrs. Doubtfire"), a lovely and heartwarming melody, that would play an important role throughout the whole movie. Carried by warm flutes, strings and sweet piano sounds, it functions as a leitmotif. To me, it portraits the unconditional love Daniel Hillard (Robin Williams' character) has for his three children. Since its first appearance at the beginning of the movie, when Daniel picks up his kids from school, the main theme always reappears in relation to them, e.g. when Daniel's wife announces him she wants to divorce him. In this moment, Daniel not only realizes that his marriage is ending, but he also sees his worst fear becoming reality: being separated from his children. 

 

It is unconditional love that drives Daniel forward, it is the reason why he decides to put the mask of this fictional character, Mrs. Doubtfire, just to be near his beloved children. But it is also thanks to her that he is becoming a better person, musically beautifully represented by a variation of the main theme.

In addition to it, there are of course the comedic aspects of the score (and the movie). Already given by Robin Williams' solid performace, Shore just needed to add the cherish on the top of the cake: with very subtle and mischievous underscoring music.

For me, Mrs. Doubtfire is one of these movies you never get tired of watching. With his simple approach, Howard Shore just did everything right, his music never seems to get unnecessarily over-exaggerated (like in other comedy movies), it keeps the tone of the movie well-balanced. It is so simply written ... it speaks for itself ... just like the language of love.

 



CONCERT REVIEW: Homage to John Williams - 21st Century Symphony Orchestra & Chorus, Boys Choir Lucerne, conducted by Ludwig Wicki



 

Founded in 1999, the 21st Century Symphony Orchestra has established a remarkable reputation as Switzerland's leading symphony orchestra in performing film music live. Along with the 21st Century Chorus and under the direction of conductor Ludwig Wicki, the 21st Century Orchestra has realised projects ("James Bond in Concert", "War & Love", "Heroes" etc.) and has worked with renowned composers such as George Fenton, Randy Newman and Michael Giacchino. One of the orchestra's highlights and most rewarding experiences was its collaboration with Academy Award winning composer Howard Shore, world-premiering the music of the epic fantasy trilogy The Lord of the Rings live to the projected movie on the big screen ... and eventually perform it in the legendary Radio City Music Hall in New York in 2009. It has also performed live to Charlie Chaplin's City Lights, Disney's Fantasia or Pirates of the Carribean: The Curse of the Black Pearl.



On Friday 2nd of November, I had the immense pleasure to experience a selection of five-time Academy Award winning composer John Williams' finest works - brought to life by the 21st Century Orchestra & Chorus and the Boys Choir Lucerne, under the baton of Ludwig Wicki at the KKL Lucerne, Switzerland.

The concert starts with the Ouverture from the Western movie The Cowboys (1972) - one of the lesser known pieces by John Williams, nevertheless it contains the same sense of adventure and feel-good sensation we already know from the maestro. A great opening number and a promise for an exciting evening!
The following Suite from The Patriot (2000) carries us back in the late 18th century during the American Revolutionary War. It includes the warm and heroic melody from the main theme which is soon overshadowed by colonial war music, indicating the endangered peace of the main character's family and life. Simultaneously, we see a battle scene (muted) from the movie on the big screen.
The next piece marks the first - and impressive - entry of the 21st Century Chorus and the Boys Choir Lucerne. The powerful voices give a beautiful and heartfelt rendition of Dry your Tears, Afrika from Steven Spielberg's Amistad (1997), based on a poem by Bernard Dadie, sung in African dialect and driven by African percussions. This piece is a perfect example to show John Williams' versatility as a composer and his skill to know how to integrate traditional instruments in a big orchestra.
The noble solo trumpet opens the Suite from Oliver Stone's political drama JFK (1991), accompanied by military-related snare drum roll, emphasizing the national pride and glory of the United States of America. The main theme also radiates deep emotional and melancholic aspects, reminding us of the hopeful era of John F. Kennedy. Yet the music also lets the story's dark moments pass before our mind's eyes - the assassination and the court scene.

The Flight to Neverland from Steven Spielberg's fantasy adventure movie Hook (1991) takes us back to our childhoods. The sparkling glockenspiel combined with dazzling strings and a blasting wind section, spread sheer joy and excitement. The 21st Century Orchestra handles the high-flying virtuosity of this complex composition by Williams with ease and elation. The screen presents us the scene in how the adult Peter Pan regains his ability to fly, followed by the tender moment between him and 'grown-up' Tinkerbell, though this part wasn't appropriate to show because the dynamic aspect of the performed piece didn't match with the romantic mood of the scene.

The next piece couldn't make a bigger contrast with the previous one. The famous and probably most threatening two-note-motif of film music history cause some nervous laughs among audience members - it's the main theme from Jaws (1975), one of John Williams' iconic compositions. First emerged by low double basses, then slowly rising to a crescendo and unleashing its terror. 

Less frightening, but not in a less dangerous area plays the following Main Theme from Jurassic Park: The Lost World (1997). Driven by heavy percussions and mainly brass instruments, John Williams' music gives us a taste of how the prehistoric world might have looked like. Once again, a scene from the movie flickers on the screen.
After frightening dinosaurs and sharks, we are transported to the magical and wondrous world of Harry Potter. Having composed for the first three movies of the saga, the orchestra performs three pieces from each film, starting with the warm and touching Fawkes the Phoenix (from The Chamber of Secrets), followed by the playful and mischievous Double Trouble (The Prisoner of Azkaban), wonderfully sung again by both choirs and finally the magical Hedwig's Theme, which includes the celesta, a mini-piano which produces a bell-like sound.
After a 15-minute break, the musical adventure goes on with the Main Title from Superman (1978), another iconic piece by John Williams and the ideal definition of a superhero theme. Dynamic brass winds, supported by high-flying strings and woodwinds and energetic percussions form this exquisite fanfare.
After all the action and excitement, the following two pieces on the repertoire show another side of John Williams: his mastery in writing subtle, yet deeply expressive music. One is his score to the Jean-Jacques Annaud drama Seven Years in Tibet (1997), in my opinion an underrated work by the maestro. The End Credits includes the main theme, played by a gorgeous cello solo (steadily perfomed by section leader Gerhard Pawlica) and majestic passages for the orchestra, mainly dominated by lush strings and harps at the beginning, then joined by loud brass instruments, portraying the grandeur of the Himalayan mountains. Williams involves authentic Tibetan instruments as well, allowing the listener to enter in a meditative state of mind.
The other piece I indicated above comes from one of Williams' most famous scores: Schindler's List (1993). Many have expected to hear the popular main theme played by the heartbreaking violin, but the orchestra introduced Jewish Town instead, featuring folkloristic elements and including an elegant, yet mourning violin solo (performed with great sensitivity by concert master Brigitte Lang), causing watery eyes in my case.
The transition to a happier music causes now, ironically, teary eyes. It's no other theme like the Flying Theme from E.T. (1982) - another lifting journey into my childhood. What more can I say? Without a doubt one of John Williams' greatest compositions.
We are slowly getting to the end of our musical journey ... and what better way to conclude this evening than with Star Wars ... a Suite combining some of my favourite pieces and the great opportunity to unite the 21st Century Orchestra and 21st Century Chorus one last time. Opening with the epic Battle of the Heroes (Episode III - Revenge of the Sith), followed by the dramatic and romantic love theme Across the Stars (Episode II - Attack of the Clones), the even more epic (what is the superlative of this word?!) and my top-favourite Star Wars piece: Duel of the Fates (Episode I - The Phantom Menace). All these three pieces are accompanied by montages from the Star Wars prequels, emphasizing the importance and influence the music has on these films. And finally, of course, the Main Theme, John Williams' ultimate signature work. Every piece fabulously performed. Just watch by yourself:

 

 

Today we have the film music we have nowadays thanks to John Williams. In other words: with that revolutionary, operatic and iconic music for Star Wars, which remains as one of the most important scores  in the history of cinema, John Williams has resurrected the classical symphonic orchestra from the Golden Age film era.

 

After the enthusiastic applause by the audience, the evening is crowned with two encores: The beloved Indiana Jones Theme The Raider's March from Raiders of the Lost Ark (1981) and, I am really looking forward to Christmas, the lovely Somewhere in my memory from Home Alone (1990). 

It was the 8th time I've watched the 21st Century Orchestra perform live (including all three Lord of the Rings films, PotC: The Curse of the Black Pearl and An Evening with Michael Giacchino) and every single time I've been impressed by the high level of technique, the fluidity in their playing and the rich sound they produce. All (professional) musicians play very well together, like all the small mechanincs in a watch. I was also impressed with the 21st Century Chorus. Being considered as a semi-professional choir, they did an excellent job in performing.
Conductor Ludwig Wicki also plays an essential part of the success. Only by watching him conducting, you can clearly see his enthusiasm, the fun and the passion he has in what he is doing - aspects that, in my opinion, are the most crucial for - not a good - but for an outstanding performance. If these qualities come across the orchestra, they will finally come across the audience and therefore they will feel connected to the music that is being played. And they did.
I also liked how some scenes were shown on the big screen during the performances, not always, because the purpose was to focus on the music, and not on the actions on the screen (we do that anyway when we are watching a movie). Sometimes, I had little issues with the balance between music and picture. At some points, they didn't harmonized with each other, especially during the Flight to Neverland sequence (as I explained above) and towards the end of The Patriot sequence. But for all that, it was of secondary importance.

Overall, I spent a highly enjoyable evening full of emotions and grand melodies. I will carry it in my memory for a very long time.

In celebration of John Williams' 80th anniversary, Ludwig Wicki, the 21st Century Orchestra & Chorus and the Boys Choir Lucerne payed tribute to one of the greatest composers - if not the best composer - of all time.

Thank you guys for these magical moments!

Long live John Williams!


sources: KKL Luzern (picture) and schulerst (video) 

"The Hobbit - An Unexpected Journey" - Soundtrack Details & New Tracks released!

Things are getting real!

A few days ago, an unreleased track from the upcoming, highly anticipated movie The Hobbit - An Unexpected Journey has been released - "Radagast the Brown"
 

Howard Shore's iconic signature music from The Lord of the Rings is immediately recognizable. Warm, soothing angelic voices from a children's choir open the piece ... you instantly feel carried back to the world of J.R.R. Tolkien ... yet, an unexpected, Slavic-influenced violin solo marks a fresh and new touch to the familiar sound of Middle-Earth. Agitated strings drive the piece forward, making it becoming darker and more dramatic.

It took me several times to listen to the entire track again to get used to that new sound. But with each time, I've more and more fallen in love with it. Now it belongs to my everyday playlist until the movie is coming out in theaters on December 14th.

Besides "Radagast the Brown", an old new track has made its appereance on the official Hobbit website - "Old Friends", already known from The Lord of the Rings, yet slightly varied, injecting some hints of adventure and mystery, quoting even the melody from the moment we see the famous map at Bag End in The Fellowship of the Rings. We are excited!

Below is the official soundtrack list for the Standard Edition

Disc 1:

My Dear Frodo
Old Friends*
An Unexpected Party*
Blunt the Knives performed by The Dwarf Cast*
Axe or Sword?
Misty Mountains performed by Richard Armitage and The Dwarf Cast
The Adventure Begins
The World is Ahead
An Ancient Enemy
Radagast the Brown*
The Trollshaws
Roast Mutton*
A Troll-hoard
The Hill of Sorcery
Warg-scouts

Disc 2:

The Hidden Valley
Moon Runes*
The Defiler
The White Council*
Over Hill
A Thunder Battle
Under Hill
Riddles in the Dark
Brass Buttons
Out of the Frying-Pan
A Good Omen
Song of the Lonely Mountain* performed by Neil Finn
Dreaming of Bag End

The Special Edition adds to the above list with the scores below, as well as extended versions of seven above tracks(*) :

A Very Respectable Hobbit
Erebor
The Dwarf Lords
The Edge of the Wild

 

The soundtrack will be available both digitally and as a 2 CD Set on December 11th 2012.

 

Welcome to my Blog!

Hello dear subscribers, movie lovers, movie score lovers and others ...  I officially welcome you to my blog! :)

First, I'd like to start with introducing myself with some quick facts ... My name means "defending men" or "protector of man". I was born in the year of the dragon, or, to be more specific, in the year when David Byrne, Cong Su and Ryuichi Sakamoto took home the Best Original Score Oscar for "The Last Emperor". The country where I was born is famous for its chocolate. :o)

The idea for creating this blog came up in relation to my YouTube channel that I’ve been running since October 2011. You'll find various video montages from movies which underscore the corresponding themes. While I am working on a video, I like to philosophize about its movie / music ... why it affects me and how I can bring out the best of the movie's musical language ... My idea is to share some of this thoughts on this blog, like some kind of "making of / behind-the scenes" of my videos. Furthermore, I intend to post film score reviews, short movie reviews, general news and other stuff ...

Feel free to comment my posts or to ask me questions. :)

- Alexandra

PS: ... As you might have noticed ... English is not my first language ... so please, don't be mad at me. ;) My personal goal is to improve my English writing skills and vocabulary through this blog. Just to let you know.