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some
Norwegian folk songs in a used LA book shop, and Stravinsky set to work adapting these with his usual speed. When the prolific composer finished his score before a single frame of film had been shot; Stoloff ruefully paid Stravinsky and gave the work back. Months later, Stoloff brought Gruenburg on to compose to the completed film, as was the usual practice. Stravinsky, never one to let work go to waste, refashioned his unused score into "Four Norwegian Moods", and Gruenberg was nominated for another Oscar.
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329:(1939), incorporating folk songs; the four other composers who worked with him are named on the Academy Award Stagecoach won for Best Music Scoring in that legendary year – against such tough competition as Dimitri Tiomkin, Erich Korngold and Aaron Copland – but Gruenberg, inexplicably, is not on the list of nominees. He heads the list of the five-man team who worked on the score in the official credits, and was soon well known in the industry as having worked on
425:), and lasts 38 minutes (in Heifetz's performance). Originally recorded for RCA Victor on shellac 78 RPM discs, it's considered a legendary performance of the master at the height of his powers, and is frequently re-issued on LP paired with Heifetz's 1937 recording of the Prokofiev Violin Concerto. As one of that celebrated conductor's earliest recordings, it can also be found in the collected works of Pierre Monteux, re-issued by Sony Classics.
476:(1949), the Pulitzer-Prize-winning fictional story of Huey Long, was a tremendous success, winning three top Oscars among many other prizes. Louis Gruenberg was nominated for Best Score in the newly minted Golden Globe Awards. Gruenberg's last Hollywood score was for Mickey Rooney and Peter Lorre in the film noir
490:
Louis
Gruenberg's film composing career stops in 1950, and it seems a fair premise that, having worked with blacklisted writers (Trumbo and Lawsen), blacklisted directors (Irving Pichel and John Cromwell), and left-wing tainted actors (Ingrid Bergman, Fredric March), he either abandoned Hollywood at
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and starring Paul Muni in a story of a secret Allied attack on the Nazi-occupied
Norwegian coast. Originally, Stoloff had convinced his boss, Harry Cohn, to hire Stravinsky for this job, since the Russian genius happened to be sitting out the war in Los Angeles. Stravinsky's wife, Vera, discovered
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as desperate exiles whom Nazi
Germany's rise has rendered stateless. Knowing well the Vienna in which much of the film takes place, Gruenberg composed an enormous breadth of source music, a loving homage to the world of Austrian and German music he had grown up in, now lost to Nazi madness.
393:, a $ 3 million Technicolor tale of a steel industrialist that nobody saw; an uncredited composer was brought in to patch up the half-hour that was lopped out of it after its first screenings, before it lost a million dollars. It ended director King Vidor's long career at MGM.
482:(1950), directed by veteran Irving Pichel, and considered by many to be the adult Rooney's best work. Again, the orchestral opening under the credits has a powerful use of brass, and as Rooney descends into his life of petty crime, a sinewy jazz score emerges.
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this moment in
American cinema history or was abandoned by it. There is very little information on the impact of the blacklist on film composers, who tend to be overlooked in the best of times, and 1950 was not the best of times.
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and
Charles Laughton as a Nazi-in-hiding. Another prestigious flop, it cost $ 5 million to make but made less than a million at the box office. No one, it seemed, wanted to revisit a Paris where the Nazis had yet to be beaten.
315:, where fellow League members Arnold Schoenberg and Igor Stravinsky also now lived (though they never spoke). There he worked at merging music with visual media and film, and also composed for Hollywood films.
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which had already triumphed on
Broadway with Paul Robeson playing the title role of an African-American who declares himself emperor on a Caribbean island. In the opera, the title role was created by baritone
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and enabled him to devote himself more completely to composition. As
Gruenberg began to make his mark as a composer, he showed his fascination with jazz, composing works with strong jazz and ragtime influences.
545:. He was the first violinist who has ever played the concerto after Heifetz. In 2009 Kameda made another premiere of the concerto in Mexico with the Philharmonic Orchestra of Mexico City under Edwin Outwater.
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also features a scene from the opera with
Robeson singing the role of Jones. (This has sometimes resulted in a confusion that the 1933 film of O'Neill's play is a film of the opera.)
158:, especially of operas. An early champion of Schoenberg and other contemporary composers, he was also a highly respected Oscar-nominated film composer in Hollywood in the 1940s.
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reintroduced the almost forgotten concerto to the public with a premiere of the work in Japan in 2002 with the New Japan
Philharmonic under the direction of
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During the last twenty years of his life, Gruenberg also became increasingly isolated from the concert music world. He did maintain a close friendship with
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Back on the payroll in LA, Gruenberg was brought in to score the taut, well-received one-room drama of a Russian soldier holding a group of German soldiers,
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another concert organised by the ICG. Shortly after this performance, he and other members of the league left over disagreements with Varèse and formed the
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In 1942, Gruenberg was again nominated for his next film, along with Columbia's head of music, Morris Stoloff, for Best Dramatic Score for
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Gruenberg played both solo concerts and in ensembles from the beginning, and in his early twenties he went to study in Europe with
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received its world premiere that night. Then, on February 4, 1923, Gruenberg conducted the American premiere of
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But Gruenberg had happier things to worry about, for in 1944, the greatest violinist in the world,
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in 1921. on 19 February 1922 the ICG scheduled the first of their first series of concerts in
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Mundy, Rachel (2013). "The 'League of Jewish Composers' and American Music".
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Louis Gruenberg composed continually until his death, which took place at
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Gruenberg soon composed an original film score under his sole credit for
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July 22] – June 9, 1964) was a Russian-born American
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Rhapsodie - With simplicity and warmth - Lively and with good humour
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Gruenberg worked on the musical scoring for John Ford's masterpiece
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when he was a few months old. His father worked as a violinist in
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Music Division, New York Public Library for the Performing Arts.
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http://www.musicweb-international.com//Classpedia/Gruenberg.htm
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798:""New Music for New Ears": The International Composers' Guild"
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1029:"Results for 'J. Lilian Vandevere' [WorldCat.org]"
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Hollywood Rhapsody: Movie Music and its Makers, 1900–1975
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at the National Conservatory in New York (then headed by
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Emigrants from the Russian Empire to the United States
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for orchestra, which gained him the highly acclaimed
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1009:. West Los Angeles. UPI. June 12, 1964. p. 13
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803:Journal of the American Musicological Society
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166:Louis Theodor Gruenberg was born near
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364:Academy Award for Best Original Score
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265:premiered his expressionistic opera
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894:Fredric March - a Consummate Actor
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1066:Louis Gruenberg Papers, 1900-1988
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907:"The 13th Academy Awards | 1941"
419:San Francisco Symphony Orchestra
362:Gruenberg was nominated for the
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634:, libretto by P. Moeller (1938)
570:The Man Who Married a Dumb Wife
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1001:"Services held for composer"
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1087:American classical pianists
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981:. June 11, 1964. p. 30
525:) and the lengthy oratorio
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1112:Pupils of Ferruccio Busoni
932:Marmorstein, Gary (1997).
875:"Stagecoach (1939) - IMDb"
507:Westwood Memorial Cemetery
503:Cedars of Lebanon Hospital
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397:Gruenberg violin concerto
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287:Paul Robeson's 1936 film
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727:Commandos Strike at Dawn
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735:Documentary Short, 1943
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648:One Night of Cleopatra
584:Jack and the Beanstalk
515:Jack and the Beanstalk
429:Postwar film composing
411:Philadelphia Orchestra
861:10.1093/musqtl/gdt003
661:Alexandre Dumas, père
560:The Bride of the Gods
336:Oscar-winning score.
667:Antony and Cleopatra
626:William Henry Hudson
519:Antony and Cleopatra
375:(1942), directed by
298:Roosevelt University
739:An American Romance
606:J. Lilian Vandevere
386:An American Romance
383:His next film job,
256:League of Composers
769:All the King's Men
709:The Fight for Life
684:The Hill of Dreams
539:Koh Gabriel Kameda
473:All The King's Men
441:John Howard Lawson
306:The Fight for Life
263:Metropolitan Opera
210:The Hill of Dreams
978:Los Angeles Times
951:978-0-02-864595-7
913:. October 5, 2014
849:Musical Quarterly
721:So Ends Our Night
657:The Delicate King
591:The Emperor Jones
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357:and a very young
355:Margaret Sullavan
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65:June 9, 1964
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1137:1964 deaths
1132:1884 births
763:Smart Woman
671:Shakespeare
622:radio opera
612:Queen Helen
533:Rediscovery
486:Later years
377:John Farrow
203:World War I
73:Los Angeles
1081:Categories
775:Quick Sand
715:Stagecoach
678:Orchestral
652:T. Gautier
642:Ben Jonson
391:King Vidor
359:Glenn Ford
331:Stagecoach
326:Stagecoach
304:to create
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1013:August 6,
985:August 6,
957:August 6,
917:August 6,
855:: 50–99.
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479:Quicksand
453:(1947).
1038:April 5,
578:Rabelais
417:and the
409:and the
347:Remarque
273:the play
170:(now in
156:composer
143:-ən-burg
638:Volpone
604:, with
511:Volpone
250:at the
172:Belarus
152:pianist
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777:, 1950
765:, 1948
759:, 1948
753:, 1947
747:, 1945
741:, 1944
711:, 1940
692:, 1925
686:, 1919
673:(1955)
663:(1955)
644:(1945)
628:(1937)
614:(1936)
598:(1931)
580:(1923)
576:after
554:Operas
334:'s
176:Russia
827:JSTOR
782:Notes
703:Films
549:Works
459:(aka
1061:IMDb
1040:2021
1015:2024
987:2024
959:2024
946:ISBN
919:2024
880:IMDb
819:ISSN
521:and
228:and
148:O.S.
141:GROO
62:Died
40:Born
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134:/
131:ɡ
125:b
116:r
113:ɡ
110:ˈ
107:/
103:(
48:)
44:(
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