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Glasbeni odri Florida High School o Publixu

Glasbeni odri Florida High School o Publixu

Najbolj Florida stvar doslej

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Srednja šola na Floridi je ustvarila 30-minutni muzikal o regionalni verigi supermarketov Publix.

Učenci Harrison School for the Arts v Lakelandu, kjer ima sedež Publix, so predstavili svoj muzikal o Publixu in njegovem ustanovitelju Georgeu W. Jenkinsu z naslovom Ko sanjaš, na Gospodarski zbornici Lakeland.

Muzikal, ki ga je napisal in režiral ravnatelj šole Daryl Ward z izvirnimi pesmimi učitelja Tylerja Campbella, obravnava Jenkinsovo zgodbo od skromnih začetkov kot zaposlenega v podjetju Piggly Wiggly do lastnika trgovine z živili in naprej. Čeprav je bila sprva oddaja samo za eno noč, jo bodo učenci znova izvedli za vsakoletno šolsko zbiranje sredstev.

Tiskovni predstavnik družbe Publix je za The Daily Meal povedal: »Glasbeni sestavek, ki so ga pripravili učenci na Harrison School of the Arts, je bil neverjeten. Oživeli so del naše zgodovine in naše kulture. "

Nikoli niste bili v Publixu? Tako izgledajo verige supermarketov po vsem svetu.


Robert Wright, 90 skladatelj, tekstopisec za muzikale in filme

Umrl je Robert Wright, nagrajenec Tony, skladatelj in tekstopisec, katerega skladateljsko sodelovanje z Georgeom "Chetom" Forrestom je vključevalo uspešnice na Broadwayu "Norveška pesem", "Kismet" in "Grand Hotel". Imel je 90 let.

Wright, trikratni nominiranec za oskarja, je v sredo na svojem domu v Miamiju umrl zaradi naravnih razlogov, je povedal njegov pomočnik Doug Holmes.

Wright in Forrest sta bila pozna dvajseta leta prejšnjega stoletja, ko sta se spoznala, srednješolca Floride - prva pesem, ki sta jo napisala skupaj, je bila šolska pesem »Hail to Miami High«. V svojem več kot 70-letnem sodelovanju so napisali besedila in glasbo za več kot 2000 skladb za 16 produciranih odrskih muzikalov, 18 scenskih revij, 58 filmov in številna kabaretska dejanja.

Partnerja sta prejela Tonys za partituro "Kismet", uspešnico na Broadwayu leta 1953, ki temelji na temah ruskega skladatelja iz 19. stoletja Aleksandra Borodina. Oddaja je vključevala pesmi, kot sta "Stranger in Paradise" in "Baubles, Bangles and Beads".

Njihovi drugi Broadwayjevi krediti so vključevali "Song of Norway", uspešnico iz leta 1944, ki je temeljila na glasbi Edvarda Griega "Magdalena", z glasbo, prilagojeno Heitorju Villa-Lobosu "Gypsy Lady", z glasbo, prilagojeno Victor Herbert "Anya", z glasbo prirejeno po Sergeju Rachmaninoffu "Kean" in "Timbuktu!"

Wright in Forrest sta skupaj z Mauryjem Yestonom prejela nominacije Tonyja za najboljšo glasbo in besedila za svoj zadnji muzikal na Broadwayu "Grand Hotel", ki se je odprl leta 1989 in osvojil pet Tonys, vključno z najboljšim režiserjem za Tommyja Tuna, ki je predstavo tudi koreografiral .

Medtem ko sta bila v poznih tridesetih in zgodnjih 40. letih pogodba z MGM, sta Wright in Forrest osvojila tri nominacije za oskarja za najboljšo pesem - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce «(1940) in» Pennies for Peppino «iz» Flying With Music «(1942).

Med drugimi pesmi para sta "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" in "Night of My Nights".

"Bob in Chet sta bila nadarjena kantavtorja, ki sta večino svoje kariere prilagodila glasbo klasičnih skladateljev za oder ali zaslon," je za The Times v petek povedal Miles Kreuger, predsednik losangeleškega Inštituta za ameriško glasbo.

Dodal pa je, da "njihova prvotna partitura za" Kean "iz leta 1961 razkriva, kako briljantno so bili nadarjeni, ko so lahko ustvarili svojo glasbo."

V intervjuju za Associated Press iz leta 1989 je Wright dejal: »Pisanje avtorske glasbe je 10 ali 20 -krat lažje od stvari, po katerih smo najbolj znani. Prva stvar, ki jo morate narediti kot adapter, je, da se naučite vsega, kar je skladatelj kdaj napisal. Nato morate sestaviti in asimilirati glasbo. In končno, pomislite tako, kot je storil on. "

Wright, rojen 25. septembra 1914 v Daytona Beachu v Floridi, se je že kot otrok učil klavirja in že zgodaj v življenju postal glasbeni delavec.

"Ko sem bil star 9 let, sem zmagal na amaterskem tekmovanju z igranjem Rachmaninoff C-Sharp Minor Prelude in odšel v vodvilj," je povedal za AP. "Zelo mlad sem izvedel, da je v glasbi denar, zato se klavirja nikoli nisem dotaknil, razen če sem bil plačan."

Njegovo delo je vključevalo igranje klavirja v nemem kinu in vodenje lastnega orkestra v srednji šoli, kjer je spoznal eno leto mlajšega Forresta, ko je prišel na avdicijo za klub Glee.

Leta 1933 je Wright igral klavir za Helen Morgan, Leonard Rose in oboževalko Sally Rand.

Leto kasneje sta z Forrestom začela osemmesečno kabaretsko turnejo po vsej državi, ki se je končala v Hollywoodu, kjer sta opravila avdicijo v MGM.

Podpisana za pisanje avtorske glasbe in besedil, sta Wright in Forrest ostala v studiu sedem let.

Njihova prva naloga je bila pisanje pesmi za kratki glasbeni kratki album "New Shoes" iz leta 1936.

Z skladateljem Walterjem Donaldsonom so pisali besedila za pesmi v filmih, kot so "Sinner Take All" (1936), "After the Thin Man" (1936) in "Saratoga" (1937).

Leta 1937 so prejeli prvo veliko nalogo: ustvariti novo partituro s ponovno uporabo glasbenih tem v javni domeni za filmsko različico muzikala Sigmunda Romberga "Maytime", v kateri igrata Nelson Eddy in Jeanette MacDonald.

Istega leta sta Wright in Forrest priredila klavirsko skladbo Rudolfa Frimla, imenovano »Chansonette«. To je postala "Donkey Serenade", velika uspešnica, ki jo je prepeval Allan Jones v "The Firefly".

"To jih je uvrstilo na zemljevid," je dejal Kreuger.

Dodal pa je, da sta "Maytime" in "The Firefly" postavila precedens, da sta Wright in Forrest prilagodila glasbo drugih ljudi.

Leta 1942, ko je MGM želel, da bi partnerja prepisala Rodgersov in Hartov hit muzikal "I Married an Angel", je dejal Kreuger, so bili ogorčeni, ker so jih prosili, naj prepišejo delo legend Broadwaya. To jim je uspelo, je rekel, potem pa zapustil studio.

Preden so zapustili MGM, so napisali majhno glasbeno revijo z naslovom "Hvala, Columbus", ki je imela kratek nastop v Los Angelesu.

"Ko enkrat za oder napišete kar koli in ga postavite pred občinstvo in slišite, kako se odzivajo, potem postanejo filmi zelo mračni in dolgočasni," je dejal Wright.

Ko so se preselili v New York, da bi pisali za kabaret in radio, so ustvarili poseben material za izvajalce, kot so Jimmy Durante, Sophie Tucker, Joe E. Lewis in Carmen Miranda.

Za producenta Edwina Lesterja sta Wright in Forrest napisala "Norveško pesem" za Los Angeles Civic Light Opera. Muzikal, ki temelji na življenju Griega z uporabo melodij norveškega skladatelja, se je v Los Angelesu odprl poleti 1944. Jeseni se je preselil na Broadway, kjer je deloval dve leti.

Leta 1995 je Ameriško društvo skladateljev, avtorjev in založnikov ekipi podelilo nagrado Richarda Rodgersa/ASCAP za izjemne življenjske prispevke Ameriškemu glasbenemu gledališču.

Pred Forrestsovo smrtjo leta 1999 v starosti 84 let sta z Wrightom delala na več možnih glasbenih projektih.


Robert Wright, 90 skladatelj, tekstopisec za muzikale in filme

Umrl je Robert Wright, nagrajenec Tony, skladatelj in tekstopisec, katerega skladateljsko sodelovanje z Georgeom "Chetom" Forrestom je vključevalo uspešnice na Broadwayu "Norveška pesem", "Kismet" in "Grand Hotel". Imel je 90 let.

Wright, trikratni nominiranec za oskarja, je v sredo na svojem domu v Miamiju umrl zaradi naravnih razlogov, je povedal njegov pomočnik Doug Holmes.

Wright in Forrest sta bila pozna dvajseta leta prejšnjega stoletja, ko sta se spoznala, srednješolca Floride - prva pesem, ki sta jo napisala skupaj, je bila šolska pesem »Hail to Miami High«. V svojem več kot 70-letnem sodelovanju so napisali besedila in glasbo za več kot 2000 skladb za 16 produciranih odrskih muzikalov, 18 scenskih revij, 58 filmov in številna kabaretska dejanja.

Partnerja sta prejela Tonys za partituro "Kismet", uspešnico na Broadwayu leta 1953, ki temelji na temah ruskega skladatelja iz 19. stoletja Aleksandra Borodina. Oddaja je vključevala pesmi, kot sta "Stranger in Paradise" in "Baubles, Bangles and Beads".

Njihovi drugi Broadwayjevi krediti so vključevali "Song of Norway", uspešnico iz leta 1944, ki je temeljila na glasbi Edvarda Griega "Magdalena", z glasbo, prilagojeno Heitorju Villa-Lobosu "Gypsy Lady", z glasbo, prilagojeno Victor Herbert "Anya", z glasbo prirejeno po Sergeju Rachmaninoffu "Kean" in "Timbuktu!"

Wright in Forrest sta skupaj z Mauryjem Yestonom prejela nominacije Tonyja za najboljšo glasbo in besedila za svoj zadnji muzikal na Broadwayu "Grand Hotel", ki se je odprl leta 1989 in osvojil pet Tonys, vključno z najboljšim režiserjem za Tommyja Tuna, ki je predstavo tudi koreografiral .

Medtem ko sta bila v poznih tridesetih in zgodnjih štiridesetih pod pogodbo z MGM, sta Wright in Forrest osvojila tri nominacije za oskarja za najboljšo pesem - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce «(1940) in» Pennies for Peppino «iz» Flying With Music «(1942).

Med drugimi pesmi para sta "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" in "Night of My Nights".

"Bob in Chet sta bila nadarjena kantavtorja, ki sta večino svoje kariere prilagodila glasbo klasičnih skladateljev za oder ali zaslon," je za The Times v petek povedal Miles Kreuger, predsednik losangeleškega Inštituta za ameriško glasbo.

Dodal pa je, da "njihova prvotna partitura za" Kean "iz leta 1961 razkriva, kako briljantno so bili nadarjeni, ko so lahko ustvarili svojo glasbo."

V intervjuju za Associated Press leta 1989 je Wright dejal: »Pisanje avtorske glasbe je 10 ali 20 -krat lažje od stvari, po katerih smo najbolj znani. Prva stvar, ki jo morate narediti kot adapter, je, da se naučite vsega, kar je skladatelj kdaj napisal. Nato morate sestaviti in asimilirati glasbo. In končno, pomislite tako, kot je storil on. "

Wright, rojen 25. septembra 1914 v Daytona Beachu v Floridi, se je že kot otrok učil klavirja in že zgodaj v življenju postal glasbeni delavec.

"Ko sem bil star 9 let, sem zmagal na amaterskem tekmovanju z igranjem Rachmaninoff C-Sharp Minor Prelude in odšel v vodvilj," je povedal za AP. "Zelo mlad sem ugotovil, da je v glasbi denar, zato se klavirja nikoli nisem dotaknil, razen če sem bil plačan."

Njegovo delo je vključevalo igranje klavirja v nemem kinu in vodenje lastnega orkestra v srednji šoli, kjer je spoznal eno leto mlajšega Forresta, ko je prišel na avdicijo za klub Glee.

Leta 1933 je Wright igral klavir za Helen Morgan, Leonard Rose in oboževalko Sally Rand.

Leto kasneje sta z Forrestom začela osemmesečno kabaretsko turnejo po vsej državi, ki se je končala v Hollywoodu, kjer sta opravila avdicijo v MGM.

Podpisana za pisanje avtorske glasbe in besedil, sta Wright in Forrest ostala v studiu sedem let.

Njihova prva naloga je bila pisanje pesmi za kratki glasbeni kratki album "New Shoes" iz leta 1936.

Z skladateljem Walterjem Donaldsonom so pisali besedila za pesmi v filmih, kot so "Sinner Take All" (1936), "After the Thin Man" (1936) in "Saratoga" (1937).

Leta 1937 so prejeli prvo veliko nalogo: ustvariti novo partituro s ponovno uporabo glasbenih tem v javni domeni za filmsko različico muzikala Sigmunda Romberga "Maytime", v kateri igrata Nelson Eddy in Jeanette MacDonald.

Istega leta sta Wright in Forrest priredila klavirsko skladbo Rudolfa Frimla, imenovano »Chansonette«. To je postala "Donkey Serenade", velika uspešnica, ki jo je prepeval Allan Jones v "The Firefly".

"To jih je uvrstilo na zemljevid," je dejal Kreuger.

Dodal pa je, da sta "Maytime" in "The Firefly" postavila precedens, da sta Wright in Forrest prilagodila glasbo drugih ljudi.

Leta 1942, ko je MGM želel, da bi partnerja prepisala Rodgersov in Hartov hit -muzikal "I Married an Angel", je dejal Kreuger, so bili ogorčeni, ker so jih prosili, naj prepišejo delo legend Broadwaya. To jim je uspelo, je rekel, potem pa zapustil studio.

Preden so zapustili MGM, so napisali majhno glasbeno revijo z naslovom "Hvala, Columbus", ki je imela kratek nastop v Los Angelesu.

"Ko enkrat za oder napišete kar koli in ga postavite pred občinstvo in slišite, kako se odzivajo, potem postanejo filmi zelo mračni in dolgočasni," je dejal Wright.

Ko so se preselili v New York, da bi pisali za kabaret in radio, so ustvarili poseben material za izvajalce, kot so Jimmy Durante, Sophie Tucker, Joe E. Lewis in Carmen Miranda.

Za producenta Edwina Lesterja sta Wright in Forrest napisala "Norveško pesem" za Los Angeles Civic Light Opera. Muzikal, ki temelji na življenju Griega z uporabo melodij norveškega skladatelja, se je v Los Angelesu odprl poleti 1944. Jeseni se je preselil na Broadway, kjer je deloval dve leti.

Leta 1995 je Ameriško društvo skladateljev, avtorjev in založnikov ekipi podelilo nagrado Richarda Rodgersa/ASCAP za izjemne življenjske prispevke Ameriškemu glasbenemu gledališču.

Pred Forrestsovo smrtjo leta 1999 v starosti 84 let sta z Wrightom delala na več možnih glasbenih projektih.


Robert Wright, 90 skladatelj, tekstopisec za muzikale in filme

Umrl je Robert Wright, nagrajenec Tony, skladatelj in tekstopisec, katerega skladateljsko sodelovanje z Georgeom "Chetom" Forrestom je vključevalo uspešnice na Broadwayu "Norveška pesem", "Kismet" in "Grand Hotel". Imel je 90 let.

Wright, trikratni nominiranec za oskarja, je umrl v sredo na svojem domu v Miamiju, je povedal Doug Holmes, njegov pomočnik.

Wright in Forrest sta bila pozna dvajseta leta prejšnjega stoletja, ko sta se spoznala, srednješolca Floride - prva pesem, ki sta jo napisala skupaj, je bila šolska pesem »Hail to Miami High«. V svojem več kot 70-letnem sodelovanju so napisali besedila in glasbo za več kot 2000 skladb za 16 produciranih odrskih muzikalov, 18 scenskih revij, 58 filmov in številna kabaretska dejanja.

Partnerja sta prejela Tonys za partituro "Kismet", uspešnico na Broadwayu leta 1953, ki temelji na temah ruskega skladatelja iz 19. stoletja Aleksandra Borodina. Oddaja je vključevala pesmi, kot sta "Stranger in Paradise" in "Baubles, Bangles and Beads".

Njihovi drugi Broadwayjevi krediti so vključevali "Song of Norway", uspešnico iz leta 1944, ki je temeljila na glasbi Edvarda Griega "Magdalena", z glasbo, prilagojeno Heitorju Villa-Lobosu "Gypsy Lady", z glasbo, prilagojeno Victor Herbert "Anya", z glasbo prirejeno po Sergeju Rachmaninoffu "Kean" in "Timbuktu!"

Wright in Forrest sta skupaj z Mauryjem Yestonom prejela nominacije Tonyja za najboljšo glasbo in besedila za svoj zadnji muzikal na Broadwayu "Grand Hotel", ki se je odprl leta 1989 in osvojil pet Tonys, vključno z najboljšim režiserjem za Tommyja Tuna, ki je predstavo tudi koreografiral .

Medtem ko sta bila v poznih tridesetih in zgodnjih štiridesetih pogodba z MGM, sta Wright in Forrest osvojila tri nominacije za oskarja za najboljšo pesem - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce «(1940) in» Pennies for Peppino «iz» Flying With Music «(1942).

Med drugimi pesmi para sta "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" in "Night of My Nights".

"Bob in Chet sta bila nadarjena kantavtorja, ki sta večino svoje kariere prilagodila glasbo klasičnih skladateljev za oder ali zaslon," je za The Times v petek povedal Miles Kreuger, predsednik losangeleškega Inštituta za ameriško glasbo.

Dodal pa je, da "njihova prvotna partitura za" Kean "iz leta 1961 razkriva, kako briljantno so bili nadarjeni, ko so lahko ustvarili svojo glasbo."

V intervjuju za Associated Press leta 1989 je Wright dejal: »Pisanje avtorske glasbe je 10 ali 20 -krat lažje od stvari, po katerih smo najbolj znani. Prva stvar, ki jo morate narediti kot adapter, je, da se naučite vsega, kar je skladatelj kdaj napisal. Nato morate sestaviti in asimilirati glasbo. In končno, pomislite tako, kot je storil on. "

Wright, rojen 25. septembra 1914 v Daytona Beachu v Floridi, se je že kot otrok učil klavirja in že zgodaj v življenju postal glasbeni delavec.

"Ko sem bil star 9 let, sem zmagal na amaterskem tekmovanju z igranjem Rachmaninoff C-Sharp Minor Prelude in odšel v vodvilj," je povedal za AP. "Zelo mlad sem izvedel, da je v glasbi denar, zato se klavirja nikoli nisem dotaknil, razen če sem bil plačan."

Njegovo delo je vključevalo igranje klavirja v nemem kinu in vodenje lastnega orkestra v srednji šoli, kjer je spoznal eno leto mlajšega Forresta, ko je prišel na avdicijo za klub Glee.

Leta 1933 je Wright igral klavir za Helen Morgan, Leonard Rose in oboževalko Sally Rand.

Leto kasneje sta z Forrestom začela osemmesečno kabaretsko turnejo po vsej državi, ki se je končala v Hollywoodu, kjer sta opravila avdicijo v MGM.

Podpisana za pisanje avtorske glasbe in besedil, sta Wright in Forrest ostala v studiu sedem let.

Njihova prva naloga je bila pisanje pesmi za glasbeni kratki film iz leta 1936, "New Shoes".

Z skladateljem Walterjem Donaldsonom so pisali besedila za pesmi v filmih, kot so "Sinner Take All" (1936), "After the Thin Man" (1936) in "Saratoga" (1937).

Leta 1937 so prejeli prvo veliko nalogo: ustvariti novo partituro s ponovno uporabo glasbenih tem v javni domeni za filmsko različico muzikala Sigmunda Romberga "Maytime", v kateri igrata Nelson Eddy in Jeanette MacDonald.

Istega leta sta Wright in Forrest priredila klavirsko skladbo Rudolfa Frimla, imenovano »Chansonette«. To je postala "Donkey Serenade", velika uspešnica, ki jo je prepeval Allan Jones v "The Firefly".

"To jih je uvrstilo na zemljevid," je dejal Kreuger.

Dodal pa je, da sta "Maytime" in "The Firefly" postavila precedens, da sta Wright in Forrest prilagodila glasbo drugih ljudi.

Leta 1942, ko je MGM želel, da bi partnerja prepisala Rodgersov in Hartov hit -muzikal "I Married an Angel", je dejal Kreuger, so bili ogorčeni, ker so jih prosili, naj prepišejo delo legend Broadwaya. To jim je uspelo, je rekel, potem pa zapustil studio.

Preden so zapustili MGM, so napisali majhno glasbeno revijo z naslovom "Hvala, Columbus", ki je imela kratek nastop v Los Angelesu.

"Ko enkrat za oder napišete kar koli in ga postavite pred občinstvo in slišite, kako se odzivajo, potem postanejo filmi zelo mračni in dolgočasni," je dejal Wright.

Ko so se preselili v New York, da bi pisali za kabaret in radio, so ustvarili poseben material za izvajalce, kot so Jimmy Durante, Sophie Tucker, Joe E. Lewis in Carmen Miranda.

Za producenta Edwina Lesterja sta Wright in Forrest napisala "Norveško pesem" za Los Angeles Civic Light Opera. Muzikal, ki temelji na življenju Griega z uporabo melodij norveškega skladatelja, se je v Los Angelesu odprl poleti 1944. Jeseni se je preselil na Broadway, kjer je deloval dve leti.

Leta 1995 je Ameriško društvo skladateljev, avtorjev in založnikov ekipi podelilo nagrado Richarda Rodgersa/ASCAP za izjemne življenjske prispevke Ameriškemu glasbenemu gledališču.

Pred Forrestsovo smrtjo leta 1999 v starosti 84 let sta z Wrightom delala na več možnih glasbenih projektih.


Robert Wright, 90 skladatelj, tekstopisec za muzikale in filme

Umrl je Robert Wright, nagrajenec Tony, skladatelj in tekstopisec, katerega skladateljsko sodelovanje z Georgeom "Chetom" Forrestom je vključevalo uspešnice na Broadwayu "Norveška pesem", "Kismet" in "Grand Hotel". Imel je 90 let.

Wright, trikratni nominiranec za oskarja, je umrl v sredo na svojem domu v Miamiju, je povedal Doug Holmes, njegov pomočnik.

Wright in Forrest sta bila pozna dvajseta leta prejšnjega stoletja, ko sta se spoznala, srednješolca Floride - prva pesem, ki sta jo napisala skupaj, je bila šolska pesem »Hail to Miami High«. V svojem več kot 70-letnem sodelovanju so napisali besedila in glasbo za več kot 2000 skladb za 16 produciranih odrskih muzikalov, 18 scenskih revij, 58 filmov in številna kabaretska dejanja.

Partnerja sta prejela Tonys za partituro "Kismet", uspešnico na Broadwayu leta 1953, ki temelji na temah ruskega skladatelja iz 19. stoletja Aleksandra Borodina. Oddaja je vključevala pesmi, kot sta "Stranger in Paradise" in "Baubles, Bangles and Beads".

Njihovi drugi Broadwayjevi krediti so vključevali "Song of Norway", uspešnico iz leta 1944, ki je temeljila na glasbi Edvarda Griega "Magdalena", z glasbo, prilagojeno Heitorju Villa-Lobosu "Gypsy Lady", z glasbo, prilagojeno Victor Herbert "Anya", z glasbo prirejeno po Sergeju Rachmaninoffu "Kean" in "Timbuktu!"

Wright in Forrest sta skupaj z Mauryjem Yestonom prejela nominacije Tonyja za najboljšo glasbo in besedila za svoj zadnji muzikal na Broadwayu "Grand Hotel", ki se je odprl leta 1989 in osvojil pet Tonys, vključno z najboljšim režiserjem za Tommyja Tuna, ki je predstavo tudi koreografiral .

Medtem ko sta bila v poznih tridesetih in zgodnjih štiridesetih pod pogodbo z MGM, sta Wright in Forrest osvojila tri nominacije za oskarja za najboljšo pesem - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce «(1940) in» Pennies for Peppino «iz» Flying With Music «(1942).

Med drugimi pesmi para sta "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" in "Night of My Nights".

"Bob in Chet sta bila nadarjena kantavtorja, ki sta večino svoje kariere prilagodila glasbo klasičnih skladateljev za oder ali zaslon," je za The Times v petek povedal Miles Kreuger, predsednik losangeleškega Inštituta za ameriško glasbo.

Dodal pa je, da "njihova prvotna partitura za" Kean "iz leta 1961 razkriva, kako briljantno so bili nadarjeni, ko so lahko ustvarili svojo glasbo."

V intervjuju za Associated Press leta 1989 je Wright dejal: »Pisanje avtorske glasbe je 10 ali 20 -krat lažje od stvari, po katerih smo najbolj znani. Prva stvar, ki jo morate narediti kot adapter, je, da se naučite vsega, kar je skladatelj kdaj napisal. Nato morate sestaviti in asimilirati glasbo. In končno, pomislite tako, kot je storil on. "

Wright, rojen 25. septembra 1914 v Daytona Beachu v Floridi, se je že kot otrok učil klavirja in že zgodaj v življenju postal glasbeni delavec.

"Ko sem bil star 9 let, sem zmagal na amaterskem tekmovanju z igranjem Rachmaninoff C-Sharp Minor Prelude in odšel v vodvilj," je povedal za AP. "Zelo mlad sem izvedel, da je v glasbi denar, zato se klavirja nikoli nisem dotaknil, razen če sem bil plačan."

Njegovo delo je vključevalo igranje klavirja v nemem kinu in vodenje lastnega orkestra v srednji šoli, kjer je spoznal eno leto mlajšega Forresta, ko je prišel na avdicijo za klub Glee.

Leta 1933 je Wright igral klavir za Helen Morgan, Leonard Rose in oboževalko Sally Rand.

Leto kasneje sta z Forrestom začela osemmesečno kabaretsko turnejo po vsej državi, ki se je končala v Hollywoodu, kjer sta opravila avdicijo v MGM.

Podpisana za pisanje avtorske glasbe in besedil, sta Wright in Forrest ostala v studiu sedem let.

Njihova prva naloga je bila pisanje pesmi za glasbeni kratki film iz leta 1936, "New Shoes".

Z skladateljem Walterjem Donaldsonom so pisali besedila za pesmi v filmih, kot so "Sinner Take All" (1936), "After the Thin Man" (1936) in "Saratoga" (1937).

Leta 1937 so prejeli prvo veliko nalogo: ustvariti novo partituro s ponovno uporabo glasbenih tem v javni domeni za filmsko različico muzikala Sigmunda Romberga "Maytime", v kateri igrata Nelson Eddy in Jeanette MacDonald.

Istega leta sta Wright in Forrest priredila klavirsko skladbo Rudolfa Frimla, imenovano »Chansonette«. To je postala "Donkey Serenade", velika uspešnica, ki jo je prepeval Allan Jones v "The Firefly".

"To jih je uvrstilo na zemljevid," je dejal Kreuger.

Dodal pa je, da sta "Maytime" in "The Firefly" postavila precedens, da sta Wright in Forrest prilagodila glasbo drugih ljudi.

Leta 1942, ko je MGM želel, da bi partnerja prepisala Rodgersov in Hartov hit -muzikal "I Married an Angel", je dejal Kreuger, so bili ogorčeni, ker so jih prosili, naj prepišejo delo legend Broadwaya. To jim je uspelo, je rekel, potem pa zapustil studio.

Preden so zapustili MGM, so napisali majhno glasbeno revijo z naslovom "Hvala, Columbus", ki je imela kratek nastop v Los Angelesu.

"Ko enkrat za oder napišete kar koli in ga postavite pred občinstvo in slišite, kako se odzivajo, potem postanejo filmi zelo mračni in dolgočasni," je dejal Wright.

Ko so se preselili v New York, da bi pisali za kabaret in radio, so ustvarili poseben material za izvajalce, kot so Jimmy Durante, Sophie Tucker, Joe E. Lewis in Carmen Miranda.

Za producenta Edwina Lesterja sta Wright in Forrest napisala "Norveško pesem" za Los Angeles Civic Light Opera. Muzikal, ki temelji na življenju Griega z uporabo melodij norveškega skladatelja, se je v Los Angelesu odprl poleti 1944. Jeseni se je preselil na Broadway, kjer je deloval dve leti.

Leta 1995 je Ameriško društvo skladateljev, avtorjev in založnikov ekipi podelilo nagrado Richarda Rodgersa/ASCAP za izjemne življenjske prispevke Ameriškemu glasbenemu gledališču.

Pred Forrestsovo smrtjo leta 1999 v starosti 84 let sta z Wrightom delala na več možnih glasbenih projektih.


Robert Wright, 90 skladatelj, tekstopisec za muzikale in filme

Umrl je Robert Wright, nagrajenec Tony, skladatelj in tekstopisec, katerega skladateljsko sodelovanje z Georgeom "Chetom" Forrestom je vključevalo uspešnice na Broadwayu "Norveška pesem", "Kismet" in "Grand Hotel". Imel je 90 let.

Wright, trikratni nominiranec za oskarja, je v sredo na svojem domu v Miamiju umrl zaradi naravnih razlogov, je povedal njegov pomočnik Doug Holmes.

Wright in Forrest sta bila pozna dvajseta leta prejšnjega stoletja, ko sta se spoznala, srednješolca Floride - prva pesem, ki sta jo napisala skupaj, je bila šolska pesem »Hail to Miami High«. V več kot 70-letnem sodelovanju so napisali besedila in glasbo za več kot 2000 skladb za 16 produciranih odrskih muzikalov, 18 scenskih revij, 58 filmov in številna kabaretska dejanja.

Partnerja sta prejela Tonys za partituro "Kismet", uspešnico na Broadwayu leta 1953, ki temelji na temah ruskega skladatelja iz 19. stoletja Aleksandra Borodina. Oddaja je vključevala pesmi, kot sta "Stranger in Paradise" in "Baubles, Bangles and Beads".

Njihovi drugi Broadwayjevi krediti so vključevali "Song of Norway", uspešnico iz leta 1944, ki je temeljila na glasbi Edvarda Griega "Magdalena", z glasbo, prilagojeno Heitorju Villa-Lobosu "Gypsy Lady", z glasbo, prilagojeno Victor Herbert "Anya", z glasbo prirejeno po Sergeju Rachmaninoffu "Kean" in "Timbuktu!"

Wright in Forrest sta skupaj z Mauryjem Yestonom prejela nominacije Tonyja za najboljšo glasbo in besedila za svoj zadnji muzikal na Broadwayu "Grand Hotel", ki se je odprl leta 1989 in osvojil pet Tonys, vključno z najboljšim režiserjem za Tommyja Tuna, ki je predstavo tudi koreografiral .

Medtem ko sta bila v poznih tridesetih in zgodnjih štiridesetih pod pogodbo z MGM, sta Wright in Forrest osvojila tri nominacije za oskarja za najboljšo pesem - za “Always and Always” iz “Mannequin” (1938), “It's a Blue World” iz “Music in Moje srce «(1940) in» Pennies for Peppino «iz» Flying With Music «(1942).

Med drugimi pesmi para sta "The Donkey Serenade", "Strange Music", "Willow, Willow, Willow", "Sweet Danger", "Sands of Time" in "Night of My Nights".

"Bob in Chet sta bila nadarjena kantavtorja, ki sta večino svoje kariere prilagodila glasbo klasičnih skladateljev za oder ali zaslon," je za The Times v petek povedal Miles Kreuger, predsednik losangeleškega Inštituta za ameriško glasbo.

Dodal pa je, da "njihova prvotna partitura za" Kean "iz leta 1961 razkriva, kako briljantno so bili nadarjeni, ko so lahko ustvarili svojo glasbo."

V intervjuju za Associated Press leta 1989 je Wright dejal: »Pisanje avtorske glasbe je 10 ali 20 -krat lažje od stvari, po katerih smo najbolj znani. Prva stvar, ki jo morate narediti kot adapter, je, da se naučite vsega, kar je skladatelj kdaj napisal. Nato morate sestaviti in asimilirati glasbo. In končno, pomislite tako, kot je storil on. "

Wright, rojen 25. septembra 1914 v Daytona Beachu, Fla, je že kot otrok študiral klavir in že zgodaj v življenju postal glasbeni delavec.

"Ko sem bil star 9 let, sem zmagal na amaterskem tekmovanju z igranjem Rachmaninoff C-Sharp Minor Prelude in odšel v vodvilj," je povedal za AP. "Zelo mlad sem izvedel, da je v glasbi denar, zato se klavirja nikoli nisem dotaknil, razen če sem bil plačan."

Njegovo delo je vključevalo igranje klavirja v nemem kinu in vodenje lastnega orkestra v srednji šoli, kjer je spoznal eno leto mlajšega Forresta, ko je prišel na avdicijo za klub Glee.

Leta 1933 je Wright igral klavir za Helen Morgan, Leonard Rose in oboževalko Sally Rand.

Leto kasneje sta z Forrestom začela osemmesečno kabaretsko turnejo po vsej državi, ki se je končala v Hollywoodu, kjer sta opravila avdicijo v MGM.

Podpisana za pisanje avtorske glasbe in besedil, sta Wright in Forrest ostala v studiu sedem let.

Njihova prva naloga je bila pisanje pesmi za kratki glasbeni kratki album "New Shoes" iz leta 1936.

Z skladateljem Walterjem Donaldsonom so pisali besedila za pesmi v filmih, kot so "Sinner Take All" (1936), "After the Thin Man" (1936) in "Saratoga" (1937).

Leta 1937 so prejeli prvo veliko nalogo: ustvariti novo partituro s ponovno uporabo glasbenih tem v javni domeni za filmsko različico muzikala Sigmunda Romberga "Maytime", v kateri igrata Nelson Eddy in Jeanette MacDonald.

Istega leta sta Wright in Forrest priredila klavirsko skladbo Rudolfa Frimla, imenovano »Chansonette«. To je postala "Donkey Serenade", velika uspešnica, ki jo je prepeval Allan Jones v "The Firefly".

"To jih je uvrstilo na zemljevid," je dejal Kreuger.

Dodal pa je, da sta "Maytime" in "The Firefly" postavila precedens, da sta Wright in Forrest prilagodila glasbo drugih ljudi.

Leta 1942, ko je MGM želel, da bi partnerja prepisala Rodgersov in Hartov hit muzikal "I Married an Angel", je dejal Kreuger, so bili ogorčeni, ker so jih prosili, naj prepišejo delo legend Broadwaya. To jim je uspelo, je rekel, potem pa zapustil studio.

Preden so zapustili MGM, so napisali majhno glasbeno revijo z naslovom "Hvala, Columbus", ki je imela kratek nastop v Los Angelesu.

"Ko enkrat za oder napišete kar koli in ga postavite pred občinstvo in slišite, kako se odzivajo, potem postanejo filmi zelo mračni in dolgočasni," je dejal Wright.

Ko so se preselili v New York, da bi pisali za kabaret in radio, so ustvarili poseben material za izvajalce, kot so Jimmy Durante, Sophie Tucker, Joe E. Lewis in Carmen Miranda.

Za producenta Edwina Lesterja sta Wright in Forrest napisala "Norveško pesem" za Los Angeles Civic Light Opera. Muzikal, ki temelji na življenju Griega z uporabo melodij norveškega skladatelja, se je v Los Angelesu odprl poleti 1944. Jeseni se je preselil na Broadway, kjer je deloval dve leti.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


Robert Wright, 90 Composer, Lyricist for Musicals and Films

Robert Wright, a Tony Award-winning composer and lyricist whose songwriting collaboration with George “Chet” Forrest included the hit Broadway musicals “Song of Norway,” “Kismet” and “Grand Hotel,” has died. He was 90.

Wright, a three-time Oscar nominee, died of natural causes Wednesday at his home in Miami, said Doug Holmes, his assistant.

Wright and Forrest were Florida high school students in the late 1920s when they met -- the first song they wrote together was the school song “Hail to Miami High.” During their more than 70-year collaboration, they wrote the lyrics and music to more than 2,000 compositions for 16 produced stage musicals, 18 stage revues, 58 motion pictures and numerous cabaret acts.

The partners received Tonys for the score of “Kismet,” the hit 1953 Broadway musical based on themes of 19th century Russian composer Alexander Borodin. The show included songs such as “Stranger in Paradise” and “Baubles, Bangles and Beads.”

Their other Broadway credits included “Song of Norway,” the 1944 hit musical based on music of Edvard Grieg “Magdalena,” with music adapted from Heitor Villa-Lobos “Gypsy Lady,” with music adapted from Victor Herbert “Anya,” with music adapted from Sergei Rachmaninoff “Kean” and “Timbuktu!”

Wright and Forrest, along with Maury Yeston, received Tony nominations for best music and lyrics for their final musical on Broadway, “Grand Hotel,” which opened in 1989 and won five Tonys, including best director for Tommy Tune, who also choreographed the show.

While under contract to MGM in the late 1930s and early ‘40s, Wright and Forrest won three Oscar nominations for best song -- for “Always and Always” from “Mannequin” (1938), “It’s a Blue World” from “Music in My Heart” (1940) and “Pennies for Peppino” from “Flying With Music” (1942).

Among the pair’s other songs are “The Donkey Serenade,” “Strange Music,” “Willow, Willow, Willow,” “Sweet Danger,” “Sands of Time” and “Night of My Nights.”

“Bob and Chet were gifted songwriters who spent most of their careers adapting the music of classical composers for stage or screen,” Miles Kreuger, president of the Los Angeles-based Institute of the American Musical, told The Times on Friday.

But he added that “their original 1961 score for ‘Kean’ reveals how brilliantly gifted they were when allowed to create their own music.”

In a 1989 interview with the Associated Press, Wright said: “Writing original music is 10 or 20 times easier than the things for which we are best known. The first thing you have to do as an adapter is learn everything a composer ever wrote. Then you have to assemble and assimilate the music. And finally, think the way he did.”

Born Sept. 25, 1914, in Daytona Beach, Fla, Wright studied piano as a child and became a working musician early in life.

“I had won an amateur contest playing the Rachmaninoff C-Sharp Minor Prelude when I was 9 and went into vaudeville,” he told AP. “I found out very young that there was money in music, so I never touched the piano unless I was paid.”

His work included playing piano in a silent movie theater and leading his own orchestra while in high school, where he met Forrest, who was a year younger, when Forrest came in to audition for the Glee Club.

In 1933, Wright played piano for Helen Morgan, Leonard Rose and fan dancer Sally Rand.

A year later, he and Forrest launched an eight-month cabaret tour across the country that ended in Hollywood, where they landed an audition at MGM.

Signed to write original music and lyrics, Wright and Forrest remained at the studio seven years.

Their first assignment was writing songs for a 1936 musical short, “New Shoes.”

With Walter Donaldson as composer, they wrote lyrics for songs in films such as “Sinner Take All” (1936), “After the Thin Man” (1936) and “Saratoga” (1937).

In 1937, they received their first major assignment: to create a new score, by reusing musical themes in the public domain, for the film version of the Sigmund Romberg musical “Maytime,” starring Nelson Eddy and Jeanette MacDonald.

The same year, Wright and Forrest adapted a Rudolf Friml piano piece called “Chansonette.” It became “The Donkey Serenade,” a smash hit sung by Allan Jones in “The Firefly.”

“That put them on the map,” Kreuger said.

But, he added, both “Maytime” and “The Firefly” set a precedent of having Wright and Forrest adapt other people’s music.

In 1942, when MGM wanted the partners to rewrite Rodgers and Hart’s hit musical “I Married an Angel,” Kreuger said, they were outraged at being asked to rewrite the work of Broadway legends. They did it, he said, but then quit the studio.

Before leaving MGM, they wrote a small musical revue called “Thank You, Columbus,” which had a short run in Los Angeles.

“Once you write anything for the stage and you put it in front of an audience and you hear them react, then the movies become very dreary and dull,” Wright said.

Moving to New York to write for cabaret and radio, they created special material for performers such as Jimmy Durante, Sophie Tucker, Joe E. Lewis and Carmen Miranda.

For producer Edwin Lester, Wright and Forrest wrote “Song of Norway” for the Los Angeles Civic Light Opera. The musical, based on the life of Grieg using the Norwegian composer’s own melodies, opened in Los Angeles in summer 1944. That fall, it moved to Broadway, where it ran for two years.

In 1995, the American Society of Composers, Authors and Publishers presented the team with the Richard Rodgers/ASCAP Award for Outstanding Lifetime Contributions to the American Musical Theater.

Before Forrest’s death in 1999 at age 84, he and Wright were working on several possible musical projects.


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