Arthur Wellesley Hughes and St. Julien March


Arthur Wellesley Hughes (1870–1945/1950) was a Canadian musician, band arranger, instrumentalist, and composer. Born in Kingston, eastern Ontario, ca. 1870, he separated from his family at a young age, spending many years in the United States as an itinerant circus musician. Little is known about Hughes’ musical background except that he played the piano and a brass instrument and was a teacher of L.F. Addison.  He was a performer on piano, calliope, and alto horn. His circus associations on record include Mighty Haag Circus; Downie & Wheeler Circus (1912); Hagenbeck-Wallace Circus (1922); Sells-Floto Circus (1923); and Ringling Bros & Barnum & Bailey Combined Shows (1924-26) where he operated the steam calliope.  He was with Robbins Bros. Circus (1928–29) whence his Robbins Bros. Triumphal March arose; Miller Bros. 101 Ranch Wild West Show; and Walter L. Main Circus (1930–31).

At the turn of the century Hughes began editing and arranging for a succession of music publishers.  He worked as composer and arranger for the Waterloo Music Company of Waterloo, Ontario, from 1932-1935. At other times, Hughes worked as arranger in various publishing houses, such as Whaley-Royce in Toronto, and Cundy-Bettoney in Boston.   Others included Anglo-Canadian, W.H. Billing, A.H. Goetting, W.H. Hodgins, W.F. Shaw, H.H. Sparks, and Gordon V. Thompson. According to his own account, Hughes wrote band music in the U.S.A. for much of his life, under various pen names, including Arthur Wellesley and H. W. Arthur.

Hughes was one of Canada’s most prolific writers of marches and dance music, producing ca. 1890-1930 some 50 published works and numerous arrangements. Typical are United Empire March, In Old Quebec, The Rosedale Three-Step, Hail Edward VII, and March of the Allies. One of his best-known works, the St. Julien March was published by Cundy-Bettoney in 1918.  Recordings of his compositions for band were issued on the Columbia, Pathé, Victor, and other labels.   In his 70s, Hughes returned to Kansas, which he considered his home. It is reported that he died in an indigent ward in a New York City hospital in ca. 1945-1950.

The following work by Arthur Wellesley Hughes is contained in my collection:

St. Julien March.

James Horner and “Titanic”


James Roy Horner (August 14, 1953 – June 22, 2015) was an American composer, conductor and orchestrator of film scores, who was known for the integration of choral and electronic elements, and for his frequent use of motifs associated with Celtic music.  Horner was born on August 14, 1953, in Los Angeles, California, to Jewish immigrants.  His father, Harry Horner, was born in Holíč, then a part of Austria-Hungary. He immigrated to the United States in 1935 and worked as a set designer and art director.   His mother, Joan Ruth (née Frankel), was born into a prominent Canadian family. His brother Christopher is a writer and documentary filmmaker.  James started playing piano at the age of five. He spent his early years in London, where he attended the Royal College of Music. He returned to America, where he attended Verde Valley School in Sedona, Arizona, and later received his bachelor’s degree in music from the University of Southern California. After earning a master’s degree, he started work on his doctorate at the University of California, Los Angeles (UCLA), where he studied with Paul Chihara, among others. After several scoring assignments with the American Film Institute in the 1970s, he finished teaching a course in music theory at UCLA, then turned to film scoring.  Horner was also an avid pilot, and owned several small airplanes.

Horner’s first credit as a feature-film composer was for B-movie director and producer Roger Corman’s Battle Beyond the Stars.   As his work gained notice in Hollywood, Horner was invited to take on larger projects. One of his first major scores was for 1979’s The Lady in Red.  Horner’s big break came in 1982 when he was asked to score Star Trek II: The Wrath of Khan. It established him as an A-list Hollywood composer.   Horner continued writing high-profile film scores in the 1980s, including 48 Hrs. (1982), Krull (1983), Star Trek III: The Search for Spock (1984), Commando (1985), Cocoon (1985), Aliens (1986), *batteries not included (1987), Willow (1988), Glory and Field of Dreams (both 1989). Cocoon was the first of his many collaborations with director Ron Howard.  In 1987, Horner’s original score for Aliens brought him his first Academy Award nomination.   “Somewhere Out There,” which he co-composed and co-wrote with Barry Mann and Cynthia Weil for An American Tail, was also nominated that year for Best Original Song.

Throughout the 1980s, 1990s and 2000s, Horner wrote orchestral scores for family films (particularly those produced by Steven Spielberg’s Amblin Entertainment), with credits for An American Tail (1986); The Land Before Time (1988); The Rocketeer and An American Tail: Fievel Goes West (1991); Once Upon a Forest and We’re Back! A Dinosaur’s Story (1993); The Pagemaster (1994); Casper, Jumanji, and Balto (1995); Mighty Joe Young (1998); and How the Grinch stole Christmas (2000).    Horner scored six films in 1995, including his commercially successful and critically acclaimed works for Braveheart and Apollo 13, both of which received Academy Award nominations.  Horner’s biggest critical and financial success came in 1997 with his score for James Cameron’s Titanic. At the 70th Academy Awards, Horner received the Oscar for Best Original Dramatic Score, and shared the Oscar for Best Original Song with co-writer Will Jennings for “My Heart Will Go On.”  The film’s score and song also won three Grammy Awards and two Golden Globe Awards.

After Titanic, Horner continued to compose for major productions, including The Perfect Storm, A Beautiful Mind, Enemy at the Gates, The Mask of Zorro, The Legend of Zorro, House of Sand and Fog, and Bicentennial Man.   He also worked on smaller projects such as Iris, Radio, and Bobby Jones: Stroke of Genius. He received his eighth and ninth Academy Award nominations for A Beautiful Mind (2001) and House of Sand and Fog (2003), but lost on both occasions to composer Howard Shore.  Horner composed the 2006–2011 theme for the CBS Evening News, which was introduced during the debut of anchor Katie Couric on September 5, 2006. He wrote various treatments of the theme.  Horner collaborated again with James Cameron on his 2009 film Avatar, which became the highest-grossing film of all time, surpassing Cameron’s own Titanic. Horner worked exclusively on Avatar for over two years.  Avatar brought Horner his tenth Academy Award nomination, as well as nominations for the Golden Globe Award, British Academy Film Award and Grammy Award, all of which he lost to Michael Giacchino for Up.

After Avatar, Horner wrote the score for the 2010 version of The Karate Kid, replacing Atli Örvarsson. In 2011, he scored Cristiada (also known as For Greater Glory), which was released a year later; and Black Gold. In 2012 he scored The Amazing Spider-Man, starring Andrew Garfield.   In early 2015, after a three-year hiatus, Horner wrote the music for the adventure film Wolf Totem, his fourth collaboration with director Jean-Jacques Annaud.  At the time of his death, Horner had scored two films yet to be released.  They were Southpaw, a boxing drama directed by Antoine Fuqua, starring Jake Gyllenhaal and Rachel McAdams; and The 33, for director Patricia Riggen.  Horner’s scores are also heard in trailers for other films. The climax of Bishop’s Countdown, from his score for Aliens, ranks as the 5th most commonly used soundtrack cue in trailers.   In addition, Horner wrote the theme music for the Horsemen P-51 Aerobatic Team, and appears in “The Horsemen Cometh,” a documentary about the team and the P-51 Mustang fighter plane. The theme is heard at the team’s airshow performances.

In October, 2013, Horner received the Max Steiner Award at the Hollywood in Vienna Gala, an award given for extraordinary achievement in the field of film music.  In 2014, Horner wrote Pas de Deux, a double concerto for violin and cello. Horner also composed Collage, a concerto for four horns.  On June 22, 2015, news services reported that Horner, age 61, was presumed to have died when his Short Tucano turboprop aircraft crashed into the Los Padres National Forest near Ventucopa, California. On June 25, the Ventura County Medical Examiner’s Office confirmed Horner’s death and ruled the crash an accident.  In July 2015, a month after his death, it was discovered Horner had also written the score for the 2016 remake of The Magnificent Seven, planning it as a surprise.

My collection includes the following works by James Horner:

Braveheart (1995): End Titles.

Titanic (1997): My Heart Will Go On (Main Theme).

Homeschool Home Economics

Homeschool Home Economics
by Cindy Puhek, Homeschool Life from (Tuesday, November 8, 2011)

Why I picked the octopus pillow for my seventh-grade home economics project, I will never know. I guess I thought it was cute, and I chose it not realizing the curves of the legs and body would make it a more difficult sewing project than some of the other options.

I found the sewing very difficult, and to add insult to injury, I, the straight-A student, received a B on my rather angular octopus. This first experience on a sewing machine so traumatized me that I decided it would be my last project on a sewing machine, and I hardly touched a sewing machine for most of my early adulthood.

Twenty-four years after my junior high sewing experience, I was sitting at camp with a group of homeschooled families. Downstairs, one family was giving a demonstration on how to make a tiered skirt without a pattern. Later, we heard from a young teenaged girl who had her own business selling custom totes and aprons she made herself. When this girl was 9, she sewed all the clothing worn by the bridal party in her sister’s wedding. At this time, I did not even own a sewing machine. But these lovely families planted a vision in my heart to make my home a place of productivity, not just for myself, but so I could pass these skills on to my daughters.

read more at:

Cindy Puhek resides in Colorado Springs where she spends her time working as a help meet to her beloved husband and training her 5 children to be warriors for Jesus. Cindy earned a masters degree in chemistry and had a career teaching science classes before realizing God’s highest call on her life is to invest her gifts and talents to make her home a place of ministry and industry and refuge. You can visit Cindy’s blog at  This article was originally published in the Mar/Apr 2011 issue of HomeSchoolEnrichment Magazine. To learn more, and to request a FREE sample copy, visit

Al Hoffman and “Takes Two to Tango”


Al Hoffman (September 25, 1902 – July 21, 1960) was an American song composer, active as a hit songwriter in the 1930s, 1940s and 1950s, usually co-writing with others and responsible for number one hits through each decade, many of which are still sung and recorded today. Hoffman was born in Minsk, then part of Russia, now Belarus, to a Jewish family.   His parents moved to Seattle, Washington, in the United States when he was six. After graduating from high school in Seattle, he started his own band, playing the drums, moved to New York City in 1928 to pursue a music career, and got a job drumming in a nightclub. Though he continued playing the drums in night club bands and selling bagels door-to-door on Broadway, he began writing songs, collaborating with other songwriters such as Leon Carr, Leo Corday, Mann Curtis, Milton Drake, Walter Kent, Dick Manning, and Bob Merrill.

Hoffman’s first hit came quickly, with “I Don’t Mind Walkin’ in the Rain” (1930). He followed this up with a number of hits over the next few years, including “Heartaches” (1931), “Auf Wiedersehen, My Dear” (1932), and “I Saw Stars” (1934).  In 1934 Hoffman moved to London to work on stage productions and movies, co-writing the hit songs “She Shall Have Music” and “Everything Stops for Tea.” During this time, Hoffman worked with his chief collaborator since the early ’30s, Al Goodhart, and with Maurice Sigler.  He returned to the U.S. three years later.  Over the years, he also collaborated with Ed Nelson, Sammy Lerner, and Jerry Livingston. Hoffman also collaborated with Mack David on the score of Disney’s Cinderella, which includes such songs as “A Dream Is a Wish Your Heart Makes” and “Bibbidi-Bobbidi-Boo” (1949).

The popularity of Hoffman’s song, “Mairzy Doats”, co-written with Jerry Livingston and Milton Drake, was such that newspapers and magazines wrote about the craze. Time magazine titled one article “Our Mairzy Dotage.”  The New York Times simply wrote the headline, “That Song.”   Hoffman’s songs were recorded by singers such as Frank Sinatra (“Close To You”, “I’m Gonna Live Until I Die”), Billy Eckstine (“I Apologize”) Perry Como (“Papa Loves Mambo”, “Hot Diggity”), Ella Fitzgerald and Louis Armstrong (“Who Walks In When I Walk Out”), Nat “King” Cole, Tony Bennett, the Merry Macs, Sophie Tucker, Eartha Kitt, Patsy Cline, Patti Page (“Allegheny Moon”) and Bette Midler. In October, 2007, Hoffman’s “I’m Gonna Live Til I Die” was the lead single from Queen Latifah’s album, “Trav’lin’ Light”.

Though Hoffman had apparently little connection to Chicago, he wrote the Chicago Bears fight song “Bear Down, Chicago Bears” in 1941 under the pseudonym Jerry Downs.   Some of Hoffman’s other best-known songs include “I Apologize,” (1931), “Fit As a Fiddle” (1932), “Black Coffee” (1935), “I’m in a Dancing Mood” (1936), “On the Bumpy Road to Love” (1938), “Chi-Baba, Chi-Baba” (1947), “Takes Two to Tango,” (1952), and his final hit, 1959’s “La Plume de Ma Tante.”  He died on July 21, 1960, in New York City, NY, of prostate cancer, and was buried in New Jersey.  In 1984 he was posthumously inducted into the Songwriters Hall of Fame. He has over 1,500 songs registered with A.S.C.A.P.

The following work by Al Hoffman is contained in my collection:

Takes Two to Tango (1952)

One-Room School House, Anna, Ohio


Anna One-Room School House

11385 Amsterdam Road

Anna, Ohio 45302

Anna is a village in Shelby County, Ohio.  The first white settlement at Anna was made in the 1830s. Anna was platted in 1868, and named for Anna Thirkield. The village was incorporated in 1877.  Originally constructed in 1887, this school was closed in 1925 after 38 years of faithful service to the surrounding community. The school house was restored with great care by owners Bill and Bonnie Elsass. Tours are offered by appointment. Meeting room with modern kitchen available on lower level.  Contact Bill Elsass at 937-394-7169 for more details.

Billy Hill and “The Last Round-Up”


William Joseph “Billy” Hill (July 14, 1899 – December 24, 1940) was an American songwriter, violinist, and pianist who found fame writing Western songs such as “They Cut Down the Old Pine Tree,” “The Last Round-Up,” “Wagon Wheels,” “Empty Saddles,” and his most popular song “The Glory of Love”, recorded by Benny Goodman in 1936, Count Basie in 1937, Peggy Lee in 1959, Dean Martin in 1966, Tom Rush in 1968, Eddy Arnold in 1969, Wizz Jones in 1970, Otis Redding, The Five Keys, Paul McCartney in 2012 and Bette Midler for the film Beaches.  Hill was born on July 14, 1899, in the Jamaica Plain neighborhood of Boston, Massachusetts. He studied the violin at the New England Conservatory of Music under Karl Muck, and played with the Boston Symphony Orchestra. Hill left home at the age of seventeen and headed west, where he worked as a cowboy in Montana, and as a surveyor and prospector in Death Valley, California. He returned to music and played violin and piano in dance halls until forming his own jazz band in Salt Lake City, Utah.

In 1930, Hill moved to New York City seeking success as a songwriter while working another series of odd jobs. In 1933, he wrote his first hit song, “The Last Roundup”, which was introduced by Joe Morrison at the Paramount Theater and eventually made the 1933 Hit Parade. The song’s success made Billy Hill one of the most successful songwriters on Tin Pan Alley.  Hill collaborated with many songwriters, including Peter De Rose, Dedette Hill (his wife), Victor Young, William Raskin, Edward Eliscu, and J. Keirn Brennan, producing standards such as “Have You Ever Been Lonely?”,  “In the Chapel in the Moonlight,” “The Call of the Canyon,” “On a Little Street in Singapore,” “The Old Man of the Mountain,” “The Old Spinning Wheel,” “There’s a Cabin in the Pines,” “Put on an Old Pair of Shoes,” and “Lights Out.”  Under the name of George “Funky” Brown, he co-wrote “Have You Ever Been Lonely?” and “That’s When Your Heartaches Begin,” which later became hit songs for the Ink Spots and Elvis Presley.  Billy Hill died on Christmas Eve, December 24, 1940, in Boston, MA, at the age of 41.

My collection includes the following work by Billy Hill:

The Last Roundup.

Maurice (Moritz) von Hesse-Kassel and Bruder Conrads Tantzmass


Maurice (Moritz) von Hesse-Kassel (May 25, 1572 –March, 15, 1632), also called Maurice the Learned, was the Landgrave of Hesse-Kassel (or Hesse-Cassel) in the Holy Roman Empire from 1592 to 1627, as well as a musician and composer.  Maurice was born on May 25, 1572, in Kassel, Hesse-Kassel, Germany, as the son of William IV, Landgrave of Hesse-Kassel, and his wife Sabine of Württemberg.  On September 23, 1593, Maurice married Agnes of Solms-Laubach (1578 -1602). They had six children.  Their oldest son, Otto, Hereditary Prince of Hesse-Kassel, born in 1594, died in 1617.  Their second son, William V, born in 1602, became the next Landgrave of Hesse-Kassel.  After the death of his first wife, on May 22, 1603, Maurice married Countess Juliane of Nassau-Dillenburg (1587 –1643). They had fourteen children.

Although Maurice had been raised in the Lutheran faith, he converted to Calvinism in 1605. On the principle Cuius regio eius religio, Maurice’s subjects were also required to convert to Calvinism. Maurice’s conversion was controversial since the Peace of Augsburg had settled religious matters only betweens Roman Catholics and Lutherans and had not considered Calvinists. Maurice tried to introduce Calvinism to the lands which he had inherited from the extinct Hesse-Marburg branch of his family. Such a change of faith was contrary to the inheritance rules, and resulted in an ongoing conflict with the Hesse-Darmstadt branch. It also brought him into conflict with the Holy Roman Emperor, Matthias.

English strolling players (‘Die Englische Comoedianten’) were frequent visitors to, and performers in, towns and cities in Germany and other European countries, including Kassel, during the 16th and 17th centuries. Landgraf Moritz (to use his German nomenclature) was a great supporter of the performing arts and even built the first permanent theatre in Germany, named the Ottoneum, in 1605. This building still exists today but as a Natural History Museum. He himself was not only a serious musician but an expert composer.  A Pavane of his for the lute has several times been recorded by both lutenists and guitarists. The leading musical figures whom he supported included Heinrich Schütz and John Dowland.  Maurice’s actions (though not necessarily the Ottoneum) ruined Hesse-Kassel financially. In 1627 he abdicated in favor of his son William V. Five years later he died on March 15, 1632, aged 59, in Eschwege, Hesse-Kassel, Germany.

The following work by Maurice von Hesse-Kassel is contained in my collection:

Bruder Conrads Tantzmass.

Bernard Herrmann and the North by Northwest Overture


Bernard Herrmann (June 29, 1911 – December 24, 1975) was an American composer who was best known for his work in composing for motion pictures, and as a conductor championed the music of lesser-known composers.  Herrmann, the son of a Jewish middle-class family of Russian origin, was born on June 29, 1911, in New York City, NY, as Max Herman.  His father, Abram Dardik, was from Ukraine and had changed the family name. Herrmann attended high school at DeWitt Clinton High School, an all-boys public school at that time on 10th Avenue and 59th Street in New York City.  His father promoted music activity, taking him to the opera, and encouraging him to learn the violin. After winning a composition prize at the age of thirteen, he decided to concentrate on music, and went to New York University where he studied with Percy Grainger and Philip James. He also studied at the Juilliard School and, at the age of twenty, formed his own orchestra, the New Chamber Orchestra of New York.

In 1934, Herrmann joined the Columbia Broadcasting System (CBS) as a staff conductor. Within two years he was appointed music director of the Columbia Workshop, an experimental radio drama series for which he composed or arranged music.  One notable program was The Fall of the City. Within nine years, he had become Chief Conductor to the CBS Symphony Orchestra. He was responsible for introducing more new works to U.S. audience than any other conductor — he was a particular champion of Charles Ives’ music, which was virtually unknown at that time. Herrmann’s radio programs of concert music, which were broadcast under such titles as Invitation to Music and Exploring Music, were planned in an unconventional way and featured rarely heard music, old and new, which was not heard in public concert halls. Examples include broadcasts devoted to music of famous amateurs or of notable royal personages, such as the music of Frederick the Great of Prussia, Henry VIII, Charles I, Louis XIII and so on.

Herrmann’s many U.S. broadcast premieres during the 1940s included Myaskovsky’s 22nd Symphony, Gian Francesco Malipiero’s 3rd Symphony, Richard Arnell’s 1st Symphony, Edmund Rubbra’s 3rd Symphony and Ives’ 3rd Symphony. He performed the works of Hermann Goetz, Alexander Gretchaninov, Niels Gade and Franz Liszt, and received many outstanding American musical awards and grants for his unusual programming and championship of little-known composers.  Also during the 1940s, Herrmann’s own concert music was taken up and played by such celebrated maestri as Leopold Stokowski, Sir John Barbirolli, Sir Thomas Beecham, and Eugene Ormandy.  Between two movies made by Orson Welles, he wrote the score for William Dieterle’s The Devil and Daniel Webster (1941), for which he won his only Oscar. In 1947, Herrmann scored the atmospheric music for The Ghost and Mrs. Muir. In 1951 his score for The Day the Earth Stood Still featured the Theremin.

In 1934, Herrmann met a young CBS secretary and aspiring writer, Lucille Fletcher. Fletcher was impressed with Herrmann’s work, and the two began a five-year courtship.  The couple finally married on October 2, 1939. They had two daughters: Dorothy (b. 1941) and Wendy (b. 1945). Fletcher was to become a noted radio scriptwriter, and she and Herrmann collaborated on several projects throughout their career. He contributed the score to the famed 1941 radio presentation of Fletcher’s original story, The Hitch-Hiker, on the Orson Welles Show; and Fletcher helped to write the libretto for his operatic adaptation of Wuthering Heights.  While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles’s Mercury Theatre on the Air and Campbell Playhouse series (1938–1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles’s famous adaptation of H. G. Wells’s The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music.  Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.

When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. He composed the score for Welles’s second film, The Magnificent Ambersons (1942); like the film itself, the music was heavily edited by the studio, RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.  Herrmann also created the music for Welles’s CBS radio series the Orson Welles Show (1941–1942), which included the debut of his wife Lucille Fletcher’s suspense classic, The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946).

Herrmann is also closely associated with the director Alfred Hitchcock. He wrote the scores for seven Hitchcock films, from The Trouble with Harry (1955) to Marnie (1964), a period that included Vertigo, North by Northwest, and Psycho. He also was credited as sound consultant on The Birds (1963), as there was no actual music in the film as such, only electronically made bird sounds.  The film score for the remake of The Man Who Knew Too Much (1956) was composed by Herrmann, but two of the most significant pieces of music in the film — the song, “Que Sera, Sera (Whatever Will Be, Will Be)”, and the Storm Clouds Cantata played in the Royal Albert Hall — are not by Herrmann (although he did re-orchestrate the cantata by Australian-born composer Arthur Benjamin written for the earlier Hitchcock film of the same name). However, this film did give Herrmann the opportunity for an on-screen appearance: he is the conductor of the London Symphony Orchestra in the Albert Hall scene.

Herrmann’s most recognizable music is from another Hitchcock film, Psycho. Unusual for a thriller at the time, the score uses only the string section of the orchestra. The screeching violin music heard during the famous shower scene (which Hitchcock originally suggested have no music at all) is one of the most famous moments in film score history.  His score for Vertigo (1958) is seen as just as masterful. In many of the key scenes Hitchcock let Herrmann’s score take center stage, a score whose melodies, echoing the “Liebestod” from Richard Wagner’s Tristan und Isolde, dramatically convey the main character’s obsessive love for the woman he tries to shape into a long-dead, past love.  A notable feature of the Vertigo score is the ominous two-note falling motif that opens the suite — it is a direct musical imitation of the two notes sounded by the fog horns located at either side of the Golden Gate Bridge in San Francisco (as heard from the San Francisco side of the bridge). This motif has direct relevance to the film, since the horns can be clearly heard sounding in just this manner at Fort Point, the spot where a key incident occurs involving the character played by Kim Novak.

In 1963 Herrmann began writing original music for the CBS-TV anthology series, The Alfred Hitchcock Hour, which was in its eighth season. Hitchcock himself served only as advisor on the show, which he hosted, but Herrmann was again working with former Mercury Theatre actor Norman Lloyd, co-producer (with Joan Harrison) of the series. Herrmann scored 17 episodes (1963–1965) and, like much of his work for CBS, the music was frequently reused for other programs.  Herrmann’s relationship with Hitchcock came to an abrupt end when they disagreed over the score for Torn Curtain.   Reportedly pressured by Universal executives, Hitchcock wanted a score that was more jazz- and pop-influenced. Herrmann initially accepted the offer, but then decided to score the film according to his own ideas.  Hitchcock listened to only the prelude of the score before confronting Herrmann about the pop score. The score was rejected and replaced with one by John Addison.  Herrmann’s unused score for Torn Curtain was commercially recorded after his death.

From the late 1950s to the mid-1960s, Herrmann scored a series of notable mythically-themed fantasy films, including Journey to the Center of the Earth and the Ray Harryhausen Dynamation epics The 7th Voyage of Sinbad, Jason and the Argonauts, Mysterious Island and The Three Worlds of Gulliver. His score for the 7th Voyage was particularly highly acclaimed by admirers of that genre of film.  During the same period, Herrmann turned his talents to writing scores for television shows. He wrote the scores for several well-known episodes of the original Twilight Zone series, including the lesser known theme used during the series’ first season, as well as the opening theme to Have Gun–Will Travel.  In the mid-1960s he composed the highly regarded music score for François Truffaut’s Fahrenheit 451. Scored for strings, two harps, vibraphone, xylophone and glockenspiel, Herrmann’s score created a driving, neurotic mood that perfectly suited the film.

As well as his many film scores, Herrmann wrote several concert pieces, including his Symphony in 1941; the opera Wuthering Heights; the cantata Moby Dick (1938), dedicated to Charles Ives; and For the Fallen, a tribute to the soldiers who died in battle in World War II, among others. He recorded all these compositions, and several others, for the Unicorn label during his last years in London. A work written late in his life, Souvenir de Voyages, showed his ability to write non-programmatic pieces.  By 1967 Herrmann worked almost exclusively in England. In August 1971 the Herrmanns made London their permanent home.  Herrmann’s last film scores included Sisters and Obsession for Brian De Palma. His final film soundtrack, and the last work he completed before his death, was his sombre score for Taxi Driver (1976), directed by Martin Scorsese. It was De Palma who had suggested to Scorsese to use the composer. Immediately after finishing the recording of the Taxi Driver soundtrack on December 23, 1975, Herrmann viewed the rough cut of what was to be his next film assignment, Larry Cohen’s God Told Me To, and dined with Cohen, after which he returned to his hotel for the night. Bernard Herrmann died from cardiovascular disease in his sleep at his hotel in Los Angeles, CA, during the night on December 24, 1975. Scorsese and Cohen dedicated both Taxi Driver and God Told Me To to Herrmann’s memory.

My collection includes the following works by Bernard Herrmann:

North by Northwest (1959): Overture.

Psycho (1960): Main Theme/Murder.

Taxi Driver (1976): Main Theme.

Twisted Nerve (1968): Main Theme.


Ferdinand Herold and the Zampa Overture


Louis Joseph Ferdinand Hérold (January 28, 1791 – January 19, 1833), better known as Ferdinand, was a French operatic composer of Alsatian descent who also wrote many pieces for the piano, orchestra, and the ballet and is best known today for the ballet La fille mal gardée and the overture to the opera Zampa.  Hérold was born in Paris, France, on January 28, 1791, the only child of François-Joseph Hérold, a pianist and composer, and Jeanne-Gabrielle Pascal. He was the grandson of Nicolas Hérold, an organist. At the age of six, he attended the Hix Institute and excelled in his studies. While there, he also took musical theory with François-Joseph Fétis (who later edited the periodical La Revue musicale). At the age of seven, he played piano and composed some piano pieces.

     Hérold’s father did not intend for him to follow a musical career, but after his father’s death in 1802, he could finally pursue this avenue. He enrolled in the Conservatoire in 1806 and was schooled in piano by Louis Adam (father of the composer Adolphe Adam). He also was instructed by Charles Simon Catel (in harmony), Rodolphe Kreutzer (in violin), and Étienne Méhul (in composition). Hérold during these times at the Conservatoire became a virtuoso on piano and violin.  In 1810 he won first prize in a piano competition with one of his own compositions. One of the judges remarked: “This piece is full of flaws, but I see great things ahead for him.”  He progressed so far in his studies that in 1812 he won the Prix de Rome. In Rome, during the spring of 1813 he composed his first symphony, which all Prix de Rome winners were required to do in order to show their progression in studies, and also completed the last of his four piano concertos.

In 1815 Herold moved from Rome to Naples for health reasons. While there he composed several pieces including his second symphony and three string quartets. His first opera, La gioventù di Enrico Quinto, was presented at San Carlo (under the pseudonym Landriani), and it was received favorably by the public (who did not favor French composers), but not by the composers of the area. He was also paid 5,000 lira to teach Joachim Murat’s daughters. After the king was executed, Hérold was forced to leave Italy and went to Austria, where he stayed in Vienna for two months under the employ of Prince Metternich. He returned to Paris via Munich and Switzerland.  In 1816, Hérold collaborated with François Adrien Boieldieu in the opera Charles de France. This work put his name before the public. In the same year he composed the successful opera Les Rosières which he dedicated to his friend and former teacher Méhul. In 1817 his opera La Clochette premiered and was a vast improvement over Les Rosières. After struggling to find a libretto, he composed music for Premier Venu. However, this did not have the qualities to be an opera and it met with little success. Les Troqueurs (1819) also failed.

Hérold’s desire to compose forced him to choose any libretto that came his way since many librettists did not trust him with their works. Therefore, his next few operas (L’Amour platonique and L’Auteur mort et vivant) were failures. This discouraged Hérold, so he did not produce any operas for three years.  In 1821, Franz Schubert was invited to write two extra numbers for a production of Hérold’s Das Zauberglöckchen (La Clochette) at the Kärntnertor Theatre in Vienna.  In 1821 Herold became an assistant at the Théâtre-Italien and traveled to Italy to recruit singers. This renewed his inspiration and his health. In 1823 he returned to the stage with the success Le Muletier. His next opera, Lasthénie, was a moderate success. Hérold collaborated with Daniel Auber on Vendôme en Espagne (1823) which capitalized on the fad for Spanish atmosphere, following the French victory at Trocadero in Spain.

In 1824 the Opéra-Comique commissioned Herold to write Le Roi René. In the same year he became accompanist at the Théâtre Italien, and two years later became chorus-master. In 1825 he wrote Le Lapin blanc which failed. Hérold himself was not inspired by its libretto to compose good music.  His next opera Marie (1826) was a great success, but his duties at Théâtre Italien hindered his freedom to exploit this and further his talent, and for the next three years was reduced to writing ballet music. In 1827, he became the chief replacement at the Paris Opera. On November 3, 1828, he was awarded the Legion of Honor. His next opera L’Illusion (1829) was successful while Emmeline (1830) was not.

On May 3, 1831, one of his most famous operas, Zampa, premiered. This opera enjoyed much success in France and Germany where it is still occasionally staged today. He followed up his success with Zampa with contributions to La Marquise de Brinvilliers, a collaborative effort of many composers including François-Adrien Boïeldieu and Daniel Auber.  Herold wrote La Médecine sans médecin in 1832 and Le Pré aux Clercs later in the same year. Le Pré aux Clercs is another of Hérold’s most famous works, enjoying its 1,000th performance in Paris in 1871. A month after its premiere, on January 19, 1833, Hérold died at Thernes of tuberculosis from which he had long suffered. Hérold’s opera Ludovic, which had not been completed, was finished by Fromental Halévy.  Hérold was buried at Père Lachaise Cemetery in Paris.

The following work by Ferdinand is contained in my collection:

Zampa: Overture.

Preparing for College

Preparing for College
by Home School Legal Defense Association

As the ranks of home-educated graduates continues to grow, the number of these students seeking college admission increases as well. College entrance requirements often catch families by surprise. The purpose of this memo is to help families understand and be prepared for the college admissions process. As you embark upon the journey of preparing your children for college, keep in mind the following.

(1) Every college and university is different. We can describe what to expect generally, but you will find the application process varies from school to school as you begin your investigation. For example, a college or university might require homeschoolers to provide transcripts from parents, SAT scores, SAT II scores, ACT scores, or more than one of the above. Some schools even have their own entrance exams. Since few colleges today require homeschoolers to have a GED score, taking this test is not generally recommended. If, however, a college does request it, you may want to ask them to waive this requirement.

(2) Colleges often place requirements on homeschooled students which they do not require of their public school applicants. Although homeschoolers tend to be excellent and qualified students, their high school transcripts are not usually accredited by an outside agency. To maintain standing with their own accrediting agencies, some colleges and universities believe they must impose extra requirements on home educated students. However, in recent years, more and more colleges are now accepting well-prepared and accurate parent-created transcripts without hesitation.

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