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33-544: Salinger is a surname. Notable people with the surname include: Conrad Salinger (1901–1962), American arranger-orchestrator and composer Diane Salinger (born 1951), American actress and voice actress J. D. Salinger (1919–2010), American writer and author of Catcher in the Rye Salinger (film) , a 2013 documentary film about the American author Salinger (book) ,

66-722: A 2013 biography about the American author Lawrence M. Salinger (1958–2013), professor of criminology and sociology Margaretta Salinger (1907–1985), American art historian and curator Matt Salinger (born 1960), American actor, the son of author J. D. Salinger and psychologist Claire Douglas Michael Salinger (born 1962), American poet, performer, and educator living in Northeast Ohio Pierre Salinger (1925–2004), John F. Kennedy's press secretary Stefan Salinger (born 1965), Austrian curler See also [ edit ] Selinger Sellinger [REDACTED] Surname list This page lists people with

99-741: A conductor, learn how to confidently write music. After the studio won filming rights to the Rodgers and Hammerstein oeuvre which was coming out of embargo after first staged productions, it fell to Newman, Powell and their growing team of orchestrators to expand the musical palette from its origins for smaller pit-bands . Although Powell was known for his full-blooded and colorful use of prominent brass and drums (Overture to The King and I ; “ Bali Ha'i ”; Flower Drum Song’s “Dream Ballet”) he could also arrange charts for more intimate songs such as “ If I Loved You ” or “ Younger Than Springtime ”. Powell described their approach to Fred Steiner in 1975: “[I]n

132-627: A memorable arrangement of The Trolley Song ), Anchors Aweigh (1945), the 1947 film version of Good News , Summer Holiday (1948), the 1949 film version of On the Town , the 1950 film version of Annie Get Your Gun , Singin' in the Rain (1952), the 1953 film version of Kiss Me, Kate , Seven Brides for Seven Brothers (1954), An American in Paris (1951), The Band Wagon (1953), Gene Kelly 's pioneering 1956 all-ballet film Invitation to

165-553: A part of the whole aural and visual scene.” Later in his career he worked more frequently with other composers and music supervisors, including Alex North or Lionel and Emil , Newman's equally talented brothers. He orchestrated his friend and colleague Hugo Friedhofer ‘s martial theme for the 1959 Oscar-nominated score of the war drama The Young Lions , costarring Marlon Brando and Montgomery Clift . In some of Powell's more bizarre assignments, he received screen credit along with Lyn Murray and Arthur Morton for Snow White and

198-400: A somewhat smaller orchestra than usual but nevertheless achieved a rich, elaborately constructed sound in his arrangements. The fact the orchestra Salinger used was smaller in size than the normal huge studio orchestra was practically unnoticeable, except that the quality of the orchestral sound on films that Salinger worked on seemed greatly improved, with much less distortion than was common in

231-612: A student of Arnold Schoenberg , who lived across the road from Gershwin when they both resided in West Los Angeles. Powell even kept a standing order with an L.A. record importer to supply him with “everything interesting” from which they could pick up the latest trends in contemporary music. One of many highly regarded close collaborations with Newman was for the Oscar-winning score heard in The Song of Bernadette (1943), particularly

264-400: A very intimate scene, Al[fred Newman] would really write to the dialogue very carefully so the music breathed with it. [T]here was no movement in the orchestra under certain words – like you were accompanying at the piano in a small nightclub or something. He would try to play…that the background of the music was also part of the set…the costumes…and the whole atmosphere of the scene. [I]t became

297-488: Is claimed that Salinger committed suicide . He lost his home in the 1961 Bel Air Fire , which police believe may have contributed to his despondency. The last film that he worked on was Billy Rose's Jumbo , released in 1962. It was not a big success, either critically or commercially. The film was based on a not too successful 1935 Rodgers and Hart stage musical, although the show did produce three hits, " My Romance ," " Little Girl Blue ," and " The Most Beautiful Girl in

330-486: Is different from Wikidata All set index articles Conrad Salinger During his Broadway apprenticeship Salinger first came across Johnny Green , his future MGM musical director, when they were recording motion picture overtures in the early days of sound at New York to be shown before the main features began. Salinger first came out to Hollywood in the late 1930s to work for Alfred Newman (e.g. Born to Dance and Gunga Din ) and also collaborated with

363-480: The 1951 film version of Show Boat (music by Kern) if he "simplified" his style of orchestration. (The two patched it up and did work on that film and subsequent others, receiving a joint Academy Award nomination for it.) Salinger orchestrated most of the musicals that MGM is famous for; among them, in addition to the 1951 Show Boat , were Girl Crazy (the 1943 version), Meet Me in St. Louis (1944) (which included

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396-553: The surname Salinger . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Salinger&oldid=1231973491 " Categories : Surnames German-language surnames Germanic-language surnames Surnames of Jewish origin Hidden categories: Articles with short description Short description

429-417: The vision scenes and sacred music. Based on interviews and analysis, Roland Jackson believes Powell's special credit for orchestral arrangements was due to his contributions going ‘beyond orchestration and involving reworking of the key themes, adding counterpoints or variants, and occasionally bringing in new material of his own.’ David Newman told Maurizio Caschetto that Powell helped his father, initially

462-548: The Dance and the original film musical Gigi (1958). His lush scoring for the ballet sequences in Lerner and Loewe 's Brigadoon (1954) have come to be regarded as high points of the orchestrator's art in the Golden Age of musicals. Although many of the films Salinger worked on were Oscar -nominated for the adaptation of the music featured in them, according to industry practices at

495-460: The Gershwins tried their luck in motion pictures, Powell became a good friend of the composer and was often a guest at their home. While working on The Goldwyn Follies of 1938, he got to introduce settings for the last songs composed by Gershwin - “ Love is Here to Stay ” and “ Love Walked In ” - plus George Balanchine ’s groundbreaking Technicolor ballets featuring Vera Zorina . At the close of

528-563: The Oscar race. But in the case of An American in Paris , the nomination went only to Johnny Green, who conducted the George Gershwin music heard in the film, and not to Salinger. Green won that year; Salinger never received an Oscar. Despite this lack of popular recognition during his lifetime, Salinger was highly regarded within the film music industry; working steadily and occasionally uncredited (e.g. The Big Country for Jerome Moross ). He

561-1030: The Three Stooges . And he and screenwriter Clifford Odets memorably lent their considerable talents to the Elvis Presley vehicle Wild in the Country . Eddie's final recorded orchestration credit was in 1968 for the Dominic Frontiere score to the Clint Eastwood ’s Malpaso Productions ’ first film Hang 'Em High . Edward B. Powell at IMDb Edward Powell at IBDB Edward Powell entry, Discogs bio, Discography & Songs https://www.discogs.com/artist/2188370-Edward-Powell Powell, Edward (B.) entry by Warren M. Sherk at Grove Music Online https://doi.org/10.1093/gmo/9781561592630.article.A2093444 Edward B. Powell entry, The Bios, Concerts subpage, at The Rodgers and Hammerstein (R&H) Organization.com Finding Aid for

594-722: The World ." Salinger also composed original music for film and television. Among the A-list film scores he wrote was the 1953 romantic comedy Dream Wife and the 1958 drama Lonelyhearts ; some of the TV scores he worked on were those for the late 1950s series Wagon Train and Bachelor Father . Edward B. Powell Edward Benson Powell (December 5, 1909, in Savanna , Carroll County , Illinois – February 28, 1984, in Woodland Hills , Los Angeles)

627-705: The days before true high fidelity . However, in Hugh Fordin's The World of Entertainment: The Freed Unit at MGM , a 1975 book dealing with the MGM musicals, composer-conductor Adolph Deutsch , who worked with Salinger on more than one film, criticized his orchestrations for the Jerome Kern 1946 biopic Till the Clouds Roll By as being "too elaborate" for a composer like Kern (a criticism that Salinger reportedly did not take well) and recounted he would only work with Salinger on

660-436: The decade, he also collaborated with Robert Russell Bennett and Conrad Salinger as the powerhouse trio of (unbilled) orchestrators for Newman’s original music to George Stevens ' Gunga Din . Throughout the 1940s Powell lobbied on behalf of fellow orchestrators for royalties and advised on ways to modernize copyright law, serving a short stint as President of American Society of Music Arrangers from 1946 to 47. Powell

693-480: The early thirties as part of the stable of Harms-Chappell orchestrators on Broadway , Powell quickly came into contact with lifelong colleagues, most of whom were eventually lured to Hollywood . He garnered strong credits in popular reviews and musicals staged by Earl Carroll , and separately B.G. DeSylva and Henderson and Brown, as well as a Ballet Russe choreographed by Leonide Massine . Like George Gershwin , Conrad Salinger and Herbert W. Spencer , Powell

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726-539: The famed Broadway orchestrator Robert Russell Bennett on the arrangements for Fred Astaire and Ginger Rogers ' 1938 dance picture Carefree . Salinger is recognized as MGM's best principal orchestrator of musicals made between 1942 and 1962. He reputedly studied mathematical musical progressions under the influential theorist Joseph Schillinger , whose other students included George Gershwin , and major Broadway/Hollywood orchestrators such as Ted Royal , Edward B. Powell , and Herbert W. Spencer . Salinger employed

759-400: The original soundtracks of his scores on compact discs. The British conductor John Wilson has also been repopularizing his work in a series of concerts and recordings featuring reconstructions of the original orchestrations of the MGM classics. Salinger died suddenly in 1962, under disputed circumstances. The Internet Movie Database states that he had a heart attack in his sleep, but it

792-427: The recognizable studio system orchestral sound of the Golden Age. One of film composer John Williams ’ early professional engagements was playing piano on, and assisting Powell with the sweeping arrangements recorded for the roadshow 6-track magnetic soundtrack of Carousel . As a self-taught high school dance band arranger, he first came to the attention of jazzman Fletcher Henderson . Starting professionally in

825-400: The time, nominations usually went to the musical directors/conductors of the music (such as Adolph Deutsch or André Previn ), and not to orchestrators. Only once was Salinger nominated, for his Show Boat orchestrations. Ironically, the film An American in Paris , which Salinger also orchestrated, was nominated for the same award that year, so the two films were competing against each other in

858-501: The way their songs were orchestrated and presented. Barbra Streisand insisted on reusing his original orchestrations when they could be found and colleagues, including Stanley Donen , Debbie Reynolds , Johnny Green and André Previn, have subsequently paid tribute to his musical abilities. Salinger's contributions have gained wider public recognition since the 1970s with the release of the That's Entertainment! compilation films and many of

891-535: Was also a leading member of a close group of Hollywood orchestrators whom Levant identified as “the boys”—principally Friedhofer, Salinger, Spencer and Raksin—that met in each other's homes or lot bungalows to listen to latest overseas symphonic records, break down instrumentations chosen and analyze the effects various combinations produced on the texture and transformation of a theme, phrase or leitmotif (the works of Hindemith , Ravel and Sibelius being particular favorites). Powell continued his musical analyses as

924-537: Was an American arranger, orchestrator and composer, who served as Alfred Newman 's musical lieutenant at 20th Century Fox film studios for over three decades. His contributions to the scores of 400 films culminated in the canon of widescreen Rodgers and Hammerstein musicals of the late 1950s, for which his arrangements, such as the extended "Carousel Waltz" (with Gus Levene ), continue to be revived in concerts and proms (e.g. John Wilson Orchestra ), as well as live-to-classic pictures ( Carl Davis Chaplin tour). Powell

957-564: Was an avid student of the influential composer-theorist Joseph Schillinger . In 1933 Powell orchestrated the Gershwin brothers’ Broadway show Let 'Em Eat Cake , using the Schillinger contrapuntal system, and was invited by the composer to handle the same chores for the premiere of Porgy and Bess ; however, had to decline when he moved out to Hollywood a year later. Joining as an uncredited orchestrator at United Artists where Newman already

990-449: Was content to collaborate with some of the jazzier arrangers on the lot, most frequently Skip Martin and once memorably with Nelson Riddle for High Society (1956). Salinger orchestrated for film the music of all the major popular composers of the mid-20th century, including Irving Berlin , George Gershwin , Rodgers and Hart and Cole Porter . His work on the 1948 biopic Words and Music , led Richard Rodgers to publicly applaud

1023-555: Was house composer, an early project was Eddie Cantor ’s Kid Millions , where he shared song arranging duties with the young Roger Edens (in his days before joining MGM ’s Freed unit). He also ventured out with other composers and musical directors including Max Steiner ( The Garden of Allah , 1936), got to work with Fred Astaire in Irving Berlin ’s Top Hat and received his first screen credit for Eleanor Powell ’s (no relation) Broadway Melody of 1936 . More highbrow, he

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1056-427: Was occasionally credited as Ed or without the middle initial, but his friends invariably called him Eddie. A shrewd contemporary, the fellow composer and renaissance man Oscar Levant , wrote of him as being a noted film-music specialist on a par with the likes of Max Steiner , Franz Waxman and Hugo Friedhofer . Musicologist Ian Sapiro firmly places him in the ranks of the “geniuses” who were largely responsible for

1089-522: Was sole orchestrator for the experimental ballet film Spring Night choreographed and danced by David Lichine as Pan and conducted by Constantin Bakaleinikoff . In 1936 he recommended ex-Chappell colleague David Raksin join Newman’s unit and together they shared duties as the arrangers of Charlie Chaplin ’s beloved music in his first fully soundtracked (if not very talkie) film Modern Times . After

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