Academy of Motion Picture Arts and Sciences Delves into “Underworld”

By -

Beverly Hills, CA — The Academy of Motion Picture Arts and Sciences will present a screening of the 1927 crime drama “Underworld,” with the renowned Alloy Orchestra performing their acclaimed score for the film, on Friday, June 19, at 8 p.m. at the Samuel Goldwyn Theater in Beverly Hills. This will be the Boston-based orchestra’s only Los Angeles performance of “Underworld” this year.

Directed by Josef von Sternberg and starring George Bancroft, Clive Brook and Evelyn Brent, “Underworld” is a stylistic precursor of the 1930s gangster film that contains allusions to real-world Chicago mobsters. In 1929, at the first Academy Awards® ceremony, “Underworld” won an Oscar® for its original story by Ben Hecht.

Now in its 19th year, the Alloy Orchestra is a three-man musical ensemble that writes and performs live accompaniment to classics of the silent era. Its performances combine modern, traditional and invented instruments; alongside electronic synthesizers, the ensemble might feature accordions and percussion from a “rack of junk,” which includes such objects as musical saws and toilet seats.

Tickets for “Underworld” are $5 for the general public and $3 for Academy members and students with a valid ID, and may be purchased online at www.oscars.org, in person at the Academy box office or by mail. Doors open at 7 p.m. All seating is unreserved. The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills. For more information, call (310) 247-3600 or visit www.oscars.org.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more