Hollywood Suite (1935, rev. 1938) I. On the Set - Sweepers II. The Stand-in III. Carpenters and Electricians IV. Preview V. Production Number VI. Director - Star - Ensemble By popular request, I'm posting this orchestral suite by American composer Ferde Grofé (1892-1972). Originally a ballet, Grofé extracted the music heard here for a six-movement suite. This is light (I might even say frivolous) music, but it's fun all the same. Here is the scenario that accompanied the ballet: "The ballet "Hollywood" is a synthesis of what this famed name symbolizes for the whole world, the glamorous but artificial atmosphere of motion pictures. As the action starts the scene is actually nothing but the empty space; but a sign says this is "Stage No.4." A laborer sweeps the floor with motions as fatally unconcerned as the swinging of a clock pendulum, when a girl appears, typically representative of that place called Hollywood. Extra, stand-in, or double, in turn or all in one (let us call her the Double) she is the one whom glamour attracted, hunger tamed, and hope still sustains. Carpenters come and build a set in which electricians bring lights and to which set-dressers and property-men put the finishing touches. Each crew in turn casually calls the double, either to check the plan of a column, or the proper hanging of a prop, or the correct adjustment of the lighting. Everybody evidently needs her, but she nevertheless seems to be soon ignored by all. Cameramen, assistant-directors ...
Wednesday, September 19, 2012
Ferde Grofé - Hollywood Suite
Ferde Grofé - Hollywood Suite Tube. Duration : 20.65 Mins.
Hollywood Suite (1935, rev. 1938) I. On the Set - Sweepers II. The Stand-in III. Carpenters and Electricians IV. Preview V. Production Number VI. Director - Star - Ensemble By popular request, I'm posting this orchestral suite by American composer Ferde Grofé (1892-1972). Originally a ballet, Grofé extracted the music heard here for a six-movement suite. This is light (I might even say frivolous) music, but it's fun all the same. Here is the scenario that accompanied the ballet: "The ballet "Hollywood" is a synthesis of what this famed name symbolizes for the whole world, the glamorous but artificial atmosphere of motion pictures. As the action starts the scene is actually nothing but the empty space; but a sign says this is "Stage No.4." A laborer sweeps the floor with motions as fatally unconcerned as the swinging of a clock pendulum, when a girl appears, typically representative of that place called Hollywood. Extra, stand-in, or double, in turn or all in one (let us call her the Double) she is the one whom glamour attracted, hunger tamed, and hope still sustains. Carpenters come and build a set in which electricians bring lights and to which set-dressers and property-men put the finishing touches. Each crew in turn casually calls the double, either to check the plan of a column, or the proper hanging of a prop, or the correct adjustment of the lighting. Everybody evidently needs her, but she nevertheless seems to be soon ignored by all. Cameramen, assistant-directors ...
Hollywood Suite (1935, rev. 1938) I. On the Set - Sweepers II. The Stand-in III. Carpenters and Electricians IV. Preview V. Production Number VI. Director - Star - Ensemble By popular request, I'm posting this orchestral suite by American composer Ferde Grofé (1892-1972). Originally a ballet, Grofé extracted the music heard here for a six-movement suite. This is light (I might even say frivolous) music, but it's fun all the same. Here is the scenario that accompanied the ballet: "The ballet "Hollywood" is a synthesis of what this famed name symbolizes for the whole world, the glamorous but artificial atmosphere of motion pictures. As the action starts the scene is actually nothing but the empty space; but a sign says this is "Stage No.4." A laborer sweeps the floor with motions as fatally unconcerned as the swinging of a clock pendulum, when a girl appears, typically representative of that place called Hollywood. Extra, stand-in, or double, in turn or all in one (let us call her the Double) she is the one whom glamour attracted, hunger tamed, and hope still sustains. Carpenters come and build a set in which electricians bring lights and to which set-dressers and property-men put the finishing touches. Each crew in turn casually calls the double, either to check the plan of a column, or the proper hanging of a prop, or the correct adjustment of the lighting. Everybody evidently needs her, but she nevertheless seems to be soon ignored by all. Cameramen, assistant-directors ...
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