Stanley Myers and “Cavatina”


Stanley Myers (October 6, 1930 – November 9, 1993) was a British film composer who scored over sixty films and also wrote the guitar piece “Cavatina.”  Myers was born on October 6, 1930, in Birmingham, Warwickshire, England; as a teenager he went to King Edward’s School in Edgbaston, a suburb of Birmingham.  He wrote incidental music for television: for example, The Reign of Terror, a 1964 serial in the television series Doctor Who; the theme to All Gas and Gaiters; and the theme for the BBC’s Question Time.  Also he is known for composing music for the cult horror films House of Whipcord, Frightmare, House of Mortal Sin, and Schizo for filmmaker Pete Walker.

However, Myers is best known for “Cavatina” (1970), an evocative classical guitar piece that served as the signature theme for Michael Cimino’s 1978 film The Deer Hunter, and for which Myers won the Ivor Novello Award. A somewhat different version of this work, performed by John Williams, had appeared in The Walking Stick (1970). It had originally been written for piano but at Williams’ invitation, Myers re-wrote it for guitar and expanded it. And yet another version had lyrics added. Cleo Laine and Iris Williams, in separate recordings as He Was Beautiful, helped to make “Cavatina” become even more popular.  Following the release of The Deer Hunter in 1978, Williams’ instrumental version of “Cavatina” became a UK Top 20 hit.

“Cavatina” was also used to accompany “The Gallery” in the UK children’s program Take Hart, and its predecessor Vision On, during the 1970s. It was also used for some time in the 1970s as the close-down music when BBC radio went to sleep at 2 a.m.  Williams played the piece for the Amnesty International benefit concert, film and soundtrack The Secret Policeman’s Ball in 1979.  During the 1980s, Myers worked frequently with director Stephen Frears. His score for Prick Up Your Ears (1987) won him a “Best Artistic Contribution” award at the Cannes Film Festival.  He also scored the film Wish You Were Here and several low budget features (Time Traveler, Blind Date, The Wind, Zero Boys) for director Nico Mastorakis, collaborating with Hans Zimmer. He won another Ivor Novello Award for his soundtrack to The Witches in 1991.  Myers died of cancer aged 63 in Kensington and Chelsea, London, England, on November 9, 1993.

My collection includes the following work by Stanley Myers:

The Deer Hunter (1978): Cavatina (Theme: He Was Beautiful).


James R. Murray and “Away in a Manger”


James Ramsey Murray (March 17, 1841- March 10, 1905)  was widely known in the musical world as the author of many songs and song books, and in the New Church in Chicago and Cincinnati as an affectionate, intelligent, and loyal New Churchman.  Murray was born in Andover (Ballard Vale), MA, March 17, 1841. In early life he developed musical talent, and composed many minor pieces for local and special occasions. Later at North Reading, MA, he attended Dr. George F. Root’s School of Music, and was associated with William Bradbury and Dr. Lowell Mason. He enlisted in the Fourteenth Regiment of infantry, commonly known as the Essex County Regiment, and afterwards was changed to the First Regiment, Massachusetts Heavy Artillery, which was engaged in most of the battles fought by the Second Army Corps up to the surrender of General Lee.

“Daisy Deane,” the first and most popular of his early song successes, was composed in 1863 in Virginia while in camp, words by his cousin, Thomas F. Winthrop. This song was known all over the world, and the Salvation Army used an arrangement of it for one of their war cry songs.  In 1868 Mr. Murray married Isabella Maria Taylor of Andover, and they removed to Chicago. Here three children were born to them, two passing early to their heavenly home, the youngest, Winthrop Root Murray, surviving. It was during these first years in Chicago that Mr. and Mrs. Murray became interested in the New Church, while he was engaged with Root and Cady as editor of the Long Visitor, afterwards merged with the Musical Visitor.

After the great fire of 1871 Mr. and Mrs. Murray returned East, where he was engaged as a music teacher in the public schools of Lawrence and Andover, and as organist at the Old South Church in Andover. In 1881 they removed to Cincinnati and Mr. Murray became the editor of the Musical Visitor and head of the publication department of the John Church Company, an important publisher of church school materials and gospel music. Among the most popular of his books are “Pure Diamonds,” “Royal Gems,” “The Prize” and “Murray’s Sacred Songs.” The following titles will recall some of his best loved sacred songs: “At Last,” “Calm on the Listening Ear of Night,” “I Shall Be Satisfied,” “There Shall No Evil Befall Thee,” “Thine, O Lord, Is the Greatness,” “The Way Was Mine,” “How Beautiful Upon the Mountains,” “Angels from the Realms of Glory.”

With the original two-stanza text, the familiar nativity song “Away in a Manger” was first published in James R. Murray’s Dainty Songs for Little Lads and Lasses (1887) and initialed “J. R. M.”   Murray compiled the songbook and is now thought to be the tune’s composer. However, Murray’s hymnbook erroneously described this song as: “Luther’s Cradle Hymn. Composed by Martin Luther for his children, and still sung by German mothers to their little ones.” As a result, the hymn was wrongly attributed to Luther for many years.   Wherever he got the ideas expressed in the heading, Mr. Murray made one serious tactical mistake in saying that Luther “composed” the hymn, and then placing only his own initials where the composer’s name is normally given. As a consequence, his fellow compilers of song books apparently supposed that all he had done was to arrange the accompaniment.  As a result of this tactical error, Murray’s melody appeared, without credit, in several subsequent publications. By 1914, the melody was attributed to “Carl Mueller,” and this attribution was repeated several times in other publications. The identity of “Carl Mueller” is unknown, but the tune is widely known as “Mueller” as a result.

Murray’s last great labor in the publishing department of the John Church Company was the seeing through the press five volumes of Wagner’s music dramas, with full score and original German text, and an English translation. The immense and careful labor involved in the preparation of these volumes, with a really smooth and excellent English translation, had perhaps, as it was done under pressure, something to do with Mr. Murray’s breakdown. Although for some reason Mr. Murray’s name does not appear on the title page of these volumes, his friends knew of the place the work held in his affections and ambition.

Mr. Murray was a member of the Church Council of the Cincinnati Society for the last four years and took a deep interest in the building of the New Church, and in the inauguration of services, with all the changes looking to the improvement of the musical part of the service. He passed away at Cincinnati, OH, on March 10, 1905, and the funeral services were held in the Church of the New Jersualem on March 13th.  The vested choir, organized by Mr. and Mrs. Lawson, which Mr. Murray as councilman had urged from the beginning, in their entrance to the church each Sunday singing the processional hymn, participated in the funeral service, with a congregation of brethren and friends, all moved by deep love and profound respect for the consistent life and faith of a worthy Churchman and beloved friend. Murray composed many gospel songs and tunes and compiled a number of church school songbooks that contained his music.

The following work by James R. Murray is contained in my collection:

Away in a Manger.

John Morris and the “French Chef” Theme


John Leonard Morris (b. October 18, 1926) is a retired American film and television composer, best known for his work with filmmaker Mel Brooks.  Morris was born in Elizabeth, NJ, on October 18, 1926. Attending the Jordan Conservatory in Indianapolis, the University of Washington, the new School for Social Research, and the Julliard School of Music, he studied piano with Alfred Mirovich and conducting and composing with Victor Kolar. Morris debuted as a concert pianist with the Evansville Philharmonic.  He thought that he wanted to be a concert pianist, but he didn’t like practicing, so when he began doing composing and arranging on Broadway, he soon realized that he had found his vocation.

In 1962 Morris was the composer of the theme music for the TV Series The French Chef which starred Julia Child.  Morris composed a musical version of “How Green Was My Valley” in 1966 under the title “A Time for Singing.” Unfortunately it was not successful.  He had a long career of composing music for Mel Brooks, starting in 1968 with The Producers which was Brooks’ first film. Morris continued to write the scores and songs for most of Brooks’ films, including Young Frankenstein (1974), Blazing Saddles (1974), The Elephant Man (1980), a film that was produced by Brooks, To Be or Not to Be (1983), a film in which Brooks starred as well as wrote but did not direct, The Doctor and the Devils (1985), and Coach (1989), until Life Stinks (1991).

However, the music of Robin Hood: Men in Tights and Dracula: Dead and Loving It were both composed by Hummie Mann. Morris couldn’t do the music for Men in Tights or Dead and Loving It due to other commitments. John was the only person who managed to film The Ramones live at the CBGB’s in 1974. Some of his footage was used in the DVD It’s Alive.  According to Brooks, Morris’ best scores written for his movies were The Elephant Man and Young Frankenstein.

My collection includes the following work by John Morris:

French Chef: Theme.

Ennio Morricone and “The Good, the Bad and the Ugly” (Main Title)


Ennio Morricone (b. November 10,  1928) is an Italian composer, orchestrator, conductor, and former trumpet player, who composes a wide range of music styles, making him one of the most versatile, experimental and influential composers of all time, working in any medium.  Morricone was born on November 10,  1928, in Rome, Italy,  the son of Mario Morricone, a musician, and Libera Ridolfi.  The family came from Arpino, near Frosinone. Morricone, who had four siblings, Adriana, Aldo, Maria and Franca, lived in Trastevere, in the centre of Rome, with his parents. Mario was a trumpet player who worked professionally in different light-music orchestras, while Libera set up a small textile business.  Ennio’s first teacher was his father, who taught him how to read music and also to play several instruments. Morricone wrote his first compositions when he was six years old and was encouraged to develop his natural talents.  Compelled to take up the trumpet, he entered the National Academy of St Cecilia, to take trumpet lessons under the guidance of Umberto Semproni.

Morricone formally entered the conservatory in 1940 at age 12, enrolling in a four-year harmony program. He completed it within six months. He studied the trumpet, composition, and choral music, under direction of Goffredo Petrassi, who influenced him; Morricone has since dedicated his concert pieces to Petrassi. In 1941, Morricone was chosen among the students of the National Academy of St Cecilia to be a part of the Orchestra of the Opera directed by Carlo Zecchi on the occasion of a tour of “Veneto” (the region of Venice).   In 1946, he received his Diploma in Trumpet.  Also in 1946, he composed “Il Mattino” (“The Morning”) for voice and piano on a text by Fukuko, first in a group of seven “youth” Lieder.  After he graduated, he continued to work in classical composition and arrangement.  Although the composer had received the Diploma in Instrumentation for Band Arrangement (fanfare) with a mark of 9/10 in 1952, his studies concluded at the Conservatory of Santa Cecilia in 1954 and obtained a final 9.5/10 in his Diploma in Composition, under the composer Goffredo Petrassi.  On October 13, 1956, he married Maria Travia, whom he had met in 1950. Travia has written lyrics to complement her husband’s pieces. Her works include the Latin texts for The Mission. They have three sons and a daughter, in order of birth: Marco (1957), Alessandra (1961), the conductor and film composer Andrea (Andrew) (1964), and Giovanni Morricone (1966), a filmmaker, who lives in New York City.

In the following years, he continued to write music for the theatre as well as classical music for voice and piano, such as “Imitazione”, based on a text by Italian poet Giacomo Leopardi, “Intimità”, based on a .text by Olinto Dini, “Distacco I” and “Distacco II” with words by R. Gnoli, “Oboe Sommerso” for baritone and five instruments with words by poet Salvatore Quasimodo and “Verrà la Morte”, for contralto and piano, based on a text by novelist Cesare Pavese.  In 1953, Morricone was asked by Gorni Kramer and Lelio Luttazzi to write an arrangement for some medleys in an American style for a series of evening radio shows. The composer continued with the composition of other ‘serious’ classical pieces, thus demonstrating the flexibility and eclecticism which has always been an integral part of his character. Many orchestral and chamber compositions date, in fact, from the period between 1954 and 1959: Musica per archi e pianoforte (1954), Invenzione, Canone e Ricercare per piano; Sestetto per flauto, oboe, fagotto, violino, viola e violoncello (1955), Dodici Variazione per oboe, violoncello e piano; Trio per clarinetto, corno e violoncello; Variazione su un tema di Frescobaldi (1956); Quattro pezzi per chitarra (1957); Distanze per violino, violoncello e piano; Musica per undici violini, Tre Studi per flauto, clarinetto e fagotto (1958); and the Concerto per orchestra (1957), dedicated to his teacher Goffredo Petrassi.

Morricone soon gained popularity by writing his first background music for radio dramas and quickly moved into film.  Morricone’s career as an arranger had started in 1950, by arranging the piece Mamma Bianca (Narciso Parigi).   In occasion of the “Anno Santo” (Holy Year), he arranged a long group of popular songs of devotion for radio broadcasting.  In 1956, Morricone started to support his family by playing in a jazz band and arranging pop songs for the Italian broadcasting service RAI. He was hired by RAI in 1958, but quit his job on his first day at work when he was told that broadcasting of music composed by employees was forbidden by a company rule. Subsequently, Morricone became a top studio arranger at RCA Victor, working with Renato Rascel, Rita Pavone, and Mario Lanza.  Throughout his career Morricone has composed songs for several national and international jazz and pop artists. In 1962 Morricone worked with American jazz singer Helen Merrill as an arranger on an EP “Helen Merrill sings Italian Songs” on the RCA Italiana label.  In 1963, the composer co-wrote (with Roby Ferrante) the music for the composition “Ogni volta” (“Every Time”), a song that was performed by Paul Anka for the first time during the Festival di San Remo in 1964. This song was arranged and conducted by Morricone and sold over three million copies worldwide, including one million copies in Italy alone.

After graduating in 1954, Morricone started writing and arranging music as a ghost writer for films credited to other already well-known composers, while also arranging for many light music orchestras of the RAI television network, working most notably with Armando Trovajoli, Alessandro Cicognini and Carlo Savina. He occasionally adopted Anglicized pseudonyms, such as Dan Savio and Leo Nichols.  In 1959, Morricone was the conductor (and uncredited co-composer) for Mario Nascimbene’s score to Morte Di Un Amico (Death of a Friend), an Italian drama directed by Franco Rossi. In the same year, he composed music for the theatre show Il Lieto Fine by Luciano Salce.  The 1960s began on a positive note: 1961 marked in fact his real film debut with Luciano Salce’s Il Federale (The Fascist). Il Federale marked the beginning of a long-run collaboration with Luciano Salce. In 1962 Morricone composed the jazz-influenced score for Salce’s comedy La voglia matta (Crazy Desire). That year Morricone arranged also Italian singer Edoardo Vianello’s summer hit “Pinne, Fucile e Occhiali”, a cha-cha song, peppered with added water effects, unusual instrumental sounds and unexpected stops and starts.

His earliest scores were Italian light comedy and costume pictures, where Morricone learned to write simple, memorable themes. During the sixties and seventies he composed the scores for comedies such as Diciottenni al sole (1962), Il Successo (1963), Lina Wertmüller’s I basilischi (1963),[30] Slalom (1965), Menage all’italiana (1965), How I Learned to Love Women (1966), L’harem (1967), A Fine Pair (1968), L’Alibi (1969), Questa specie d’amore (1972), Forza “G” (1972) and Fiorina la vacca (1972).  Though his first films were undistinguished, Morricone’s arrangement of an American folk song intrigued director and former schoolmate Sergio Leone. Before being associated with Leone, Morricone had already composed some music for less-known western movies such as Duello nel Texas (aka Gunfight at Red Sands) (1963). In 1962, Morricone met American folksinger Peter Tevis, who is credited with singing the lyrics of Morricone’s songs such as “A Gringo Like Me” (from Gunfight at Red Sands) and “Lonesome Billy” (from Bullets Don’t Argue).

The turning point in Morricone’s career took place in 1964, the year in which his third child, Andrea Morricone, who would also become a film composer, was born. Film director Sergio Leone hired Morricone, and together they created a distinctive score to accompany Leone’s different version of the Western, A Fistful of Dollars (1964).  A Fistful of Dollars came out in Italy in 1964 and was released in America three years later, greatly popularizing the so-called Spaghetti Western genre.   The composer subsequently scored Leone’s other two Dollars Trilogy (or Man With No Name Trilogy) spaghetti westerns: For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966). All three films starred the American actor Clint Eastwood as The Man With No Name and depicted Leone’s own intense vision of the mythical West.  Subsequent to the success of the Dollars trilogy, Morricone composed also the scores for Once Upon a Time in the West (1968) and Leone’s last credited western film A Fistful of Dynamite (1971), as well as the scores for My Name Is Nobody (1973) and A Genius, Two Partners and a Dupe (1975), produced by Sergio Leone.

Two years after the start of his collaboration with Sergio Leone, Morricone also started to score music for another Spaghetti Western director, Sergio Corbucci. The composer wrote music for Corbucci’s Navajo Joe (1966), The Hellbenders (1967), The Mercenary/The Professional Gun (1968), The Great Silence (1968), Compañeros (1970), Sonny and Jed (1972) and What Am I Doing in the Middle of the Revolution? (1972).  In addition, Morricone composed music for the western films by Sergio Sollima, The Big Gundown (with Lee Van Cleef, 1966), Face to Face (1967) and Run, Man, Run! (1968), as well as the 1970 crime thriller Violent City (with Charles Bronson) and the poliziottesco film Revolver (1973).

With Leone’s films, Ennio Morricone’s name had been put firmly on the map. In 1968, Morricone reduced his work outside the movie business and wrote scores for 20 films in the same year. The scores included psychedelic accompaniment for Mario Bava’s superhero romp Danger: Diabolik (1968).  His talent and creativity were such that many other directors were soon keen to collaborate with him, and in the next few years Morricone scored a lot of films by politically committed directors, collaborating with Marco Bellocchio (Fists in the Pocket, 1965), Gillo Pontecorvo (The Battle of Algiers (1966) and Queimada! (1969) with Marlon Brando), Roberto Faenza (H2S, 1968), Giuliano Montaldo (Sacco e Vanzetti, 1971), Giuseppe Patroni Griffi (‘Tis Pity She’s a Whore, 1971), Mauro Bolognini (Drama of the Rich, 1974), Umberto Lenzi (Almost Human, 1974), Pier Paolo Pasolini (Salò, or the 120 Days of Sodom, 1975), Bernardo Bertolucci (Novecento, 1976) and Tinto Brass (The Key, 1983).

In 1977 Morricone scored Alberto De Martino’s apocalyptic horror film Holocaust 2000, starring Kirk Douglas. In 1982 he composed the score for John Carpenter’s science fiction horror movie The Thing.  Morricone’s most fruitful and often long-term collaborations have been with Hollywood-related directors such as Brian De Palma, Barry Levinson, Warren Beatty, Oliver Stone and especially Roland Joffé, for whom Morricone wrote one of his best-known scores, the highly evocative soundtrack for The Mission (1986).  The composer wrote also the music for three other movies by Joffé: Fat Man and Little Boy (1989, starring Paul Newman), City of Joy (1992, starring Patrick Swayze), and the opening film for the 2000 Cannes Film Festival, Vatel, starring Gérard Depardieu, Uma Thurman and Tim Roth.  In 1988 Morricone started an ongoing and very successful collaboration with Italian director Giuseppe Tornatore. His first score for Tornatore was for the drama film Cinema Paradiso.   Besides the 500 original film scores that have been composed by Morricone for movies and television series in a career of over six decades, his music is in addition frequently reused in more than 150 other film projects. Morricone’s compositions appeared in the German TV series Derrick (1989), the live-action comedy film Inspector Gadget, Ally McBeal (2001), The Simpsons (2002), The Sopranos (2001–2002) and more recently in Dancing with the Stars (2010).

More recently, Morricone composed the scores for Baarìa – La porta del vento (2009), The Best Offer (2013) starring Geoffrey Rush, Jim Sturgess and Donald Sutherland and the romantic drama The Correspondence (2015) starring Jeremy Irons and Olga Kurylenko.  In 2012, Morricone composed the song “Ancora Qui” with lyrics by Italian singer Elisa for Tarantino’s Django Unchained, a track that appeared together with three existing music tracks composed by Morricone on the soundtrack. “Ancora Qui” was one of the contenders for an Academy Award nomination in the Best Original Song category, but eventually the song was not nominated.  In 2014, Morricone’s song “Giù La Testa” was featured in Florian Habicht’s feature film Pulp: a Film about Life, Death & Supermarkets, an unconventional rockumentary about British group Pulp which premiered at SXSW that year.  In July 2015, Quentin Tarantino announced after the screening of footage of his movie The Hateful Eight at the San Diego Comic-Con International that Morricone would score the film, the first Western that Morricone has scored since 1981.  The score was critically acclaimed and won several awards including the Golden Globe Award for Best Original Score and the Academy Award for Best Original Score.

Morricone has lived in Italy his entire life and has never desired to live in Hollywood.  Since 1946 hd has composed over 500 scores for cinema and television, as well as over 100 classical works. His filmography includes over 70 award-winning films, including all Sergio Leone films since A Fistful of Dollars (including The Good, the Bad and the Ugly and Once Upon a Time in the West), all Giuseppe Tornatore films (since Cinema Paradiso), The Battle of Algiers, Dario Argento’s Animal Trilogy, Bernardo Bertolucci’s 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, John Carpenter’s The Thing, Roland Joffé’s The Mission, Brian De Palma’s The Untouchables and Mission to Mars, Barry Levinson’s Bugsy and Disclosure, Wolfgang Petersen’s In the Line of Fire, Warren Beatty’s Bulworth, Liliana Cavani’s Ripley’s Game and Quentin Tarantino’s The Hateful Eight  His score to 1966’s The Good, the Bad and the Ugly is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame.  As of 2013, Ennio Morricone has sold over 70 million records worldwide.

The following works by Ennio Morricone are contained in my collection:

Cinema Paradiso (1988): Main Theme.

The Good, the Bad and the Ugly (1966): Main Title.

The Mission (1986): Gabriel’s Oboe.

Once Upon a Time in America (1984): Deborah’s Theme.

Once Upon a Time in the West (1968): Jill’s Theme.

The Untouchables (1987): Main Theme, and Al Capone.

10/17 Home School Book Review news

10/17 Home School Book Review news

Home School Book Review Blog ( ) is the place to go for book reviews, primarily of children’s and youth literature, from a Biblical worldview.

Books reviewed in September of 2017 include:

September 28, 2017–The Railroad to Freedom: A Story of the Civil War
September 26, 2017–Children of the Covered Wagon: A Story of the Old Oregon Trail
September 21, 2017–Faithful Under Fire: John Waldron and Torpedo 8 at Midway, A Parable of Gospel Courage
September 20, 2017–Baby Island
September 19, 2017–The War That Saved My Life
September 16, 2017–The Night Crossing
September 14, 2017–The Missing Head Mystery
September 13, 2017–A Single Light
September 12, 2017–Gist’s Promised Land: The Little-known Story of the Largest Relocation of Freed Slaves in U. S. History
September 11, 2017–The Christmas Secret: Will an 1880 Christmas Eve Wedding Be Cancelled by Revelations in an Old Diary?
September 9, 2017–A Song Is Born: A Collection of Inspiring Hymn Stories
September 7, 2017–Miss Peregrine’s Home for Peculiar Children
September 4, 2017–A Daughter of the Seine: The Life of Madame Roland
September 1, 2017–To Sum the Whole Thing Up: A Collection of Writings by J. C. Roady

The winner of our Book of the Month Award for September, 2017, is:


Children of the Covered Wagon: A Story of the Old Oregon Trail by Mary Jane Carr

Books we are currently reading and will review in the near future are:
Illuminate: An Advent Experience by Paul Sheneman
The Little White Horse by Elizabeth Goudge
Frozen Summer by Mary Jane Auch
Children of the Soil: A Story of Scandanavia by Nora Burglon


Andrea Morricone and the “Cinema Paradiso” Love Theme


Andrea Morricone (b. October 10, 1964) is an Italian composer, arranger, and conductor, known for his film scores. Born on October 10, 1964, at Rome, Italy, he is the son of distinguished composer and conductor Ennio Morricone. At the age of fourteen Andrea knew that he was destined to follow in the musical footsteps of his father.  His musical studies formally began when he attended the Santa Cecilia Conservatory in his hometown of Rome, Italy, graduating with a diploma in composition in 1994.  Continuing his education at the Conservatory, Andrea earned in 1996 a Master’s Degree in Orchestral Conducting while studying under Maestro Bruno Aprea. With a determination to further advance his musical knowledge and skills, Andrea elected to spend the next two years at the National Academy of St. Cecilia in Rome, one of the oldest and most highly regarded musical institutions in the world, founded in 1585 and named in honor of the patron saint of music.  There, in 1998, he earned a Master’s Degree in Composition under the mentorship of Franco Donatoni and Azio Corghi.

     Andrea also studied under musical greats Ada Gentile, Irma Ravinale, and Ivan Fedele. Certainly each of these extraordinary individuals played a role in shaping the musical life of the young composer and conductor.  He collaborated with his father on the famous score for Cinema Paradiso in 1988, for which they won a BAFTA Award.  Also he composed the film scores for the American films Liberty Heights (1999) and Capturing the Friedmans (2003).  In addition, he has composed music for many other Italian films.

The following work by Andrea Morricone is contained in my collection:

Cinema Paradiso: Love Theme.

Box Schoolhouse, Maumee, OH

box schoolhouse

Box Schoolhouse (circa 1850)

Wolcott House Heritage Center – Maumee Valley Historical Society

1035 River Rd.

Maumee, OH 43537

Wolcott House Museum Complex is owned by the city of Maumee and run by the Maumee Valley Historical Society.  It is named for James Wolcott, a prosperous Maumee businessman during the late 1820’s.  Thanks to the Box family of western Lucas County, the 1850’s one-room country school was added to the museum complex in 2006.  The exact building date has not been established but the structure exemplifies the atypical pre-industrial, pre-Civil War building with mortise and tenon construction, gabled roof with (originally) shake shingles, clapboard siding, and three long windows on each side. It was not built by an architect but by the local farmers who sent their children here to school.  The teacher’s desk is an original schoolmaster’s desk c. 1840-1860. It sits on a platform constructed of wood from the original flooring. The wainscoting and pegs for hanging coats and lunch buckets are original to the building. The chalkboardis original, from a centruy old school which was razed. The stove is a “box stove” which pre-dates the more familiar “pot belly” stove and is original.  The schoolhouse’s original location was at 10500 Jeffers Road, near the corner of Box Road, Providence Township in Lucas County. The architectural style is country “vernacular.” Ownership history: Jacob Box 1845; Edward Box 1882; Atlanta J. Box 1930; Russell Box 1940; Russell and Glenn Box 1954; and Boyd Box 1964.  It provides a wonderful venue for visitors to learn about education in the mid 1800’s.