sabato 3 ottobre 2015

That's All Folks: The music by Carl Stalling third part


Another very interesting thing was the unscrupulous use by Stalling of copyright: this ingenious composer in the'30s was making nothing more or less what we today would call a collage of remixes of songs of others, anticipating the work of Zorn, Zappa and John Oswald and the ideas of Gilles Deleuze. Stalling was making “quoting” operations similar to those made in the same period by Igor Strawinskij and Charles Ives, and especially writing songs adapting short pieces of other works finalizing them to comment cartoons with fast rhythms. According to Daniel Goldmark his work was more a patchwork then a real composition and his perfectionism on his music, which direct result was the invention of the "click" of which we have already spoken, is justified in large part by the needs to work with scripts written by others and created for an animation cinema with very close times to be observed scrupulously.

In addition to his famous prelude with the sound "boinngs"! (played by a string of electric guitar) Stalling is the author of " Mennely We Roll Plong" and "The Merry Go Round Broke Down ", now familiar themes for the series "Merri Melodies" and "Lovely Tunes" respectively. Each cartoon took about 3 hours for recording it the orchestra using the Warner studio orchestra composed by 50 elements. According to the director Bob Clampett, the musicians inevitably become much more skilled and active working with Stalling, who was especially fond of composer Raymond Scott. "Dinner Music for a Pack of Hungry Cannibals" by Scott appears here in "Gorelb My Dreams", while you can track its mechanistic "Powerlouse" in "Mice Meriz cat." The use of Stalling of classic themes it was also very creative. A particularly exciting encounter between music and video was the "Fingall's Cove" by Mendelssohns with the Minah Bird singing "Jaki" by Chuck Jones that you can listen to in "Caveman Inki".

Other works to remember are "How dry Fans," "Am I blue", "the Lady in Red" from Warner Music Fim "In Caliente".

Carl Stalling gave to this type of composition its highest moments and his best music. When Stalling retired in 1958 the Golden Age of american animation was about to reach its hightest moment. “Today, the trouble with the cartoons, " hesaid 5 years before he died," is that they have more talking so the music actually has less importance. " Fanz Flelang the director certifies that only very occasionally there was a simple "give and take": Stalling usually asked to extend the scene to enable him to complete the music, as Stalling told to Mike Barrier and Milton Eray in their last interview on Funnyworld, "Me and the directors of cartons were working on the same material and I was recording without looking at the scene. When the scene was just finished the music was ready."

Perhaps one of the secrets of Stalling is his functionalism. Freley said: "Carl put great emphasis on the man who had to write for." Chuck Jones recalls that Stalling never tried to appear witty and intelligent, so his music was never the ornament, but integrated”. Chuck Jones said that "For Carl, the music and love was all one." Its’ impossible to calculate its influence on posterity, though his name has become more popular only in recent times. The most interesting tributes are: "Suspended Animation" by Fantomas Mike Patton and the double cd "Cartoon S & M" by John Zorn.
Warner Bros made two fantastic anthologies of his music for cartoons:

1) The Carl Stalling Project: Music From Warner Brothers Cartoons 1936-1958 (1990)
2) Carl Stalling Project Vol. 2: More Music From Warner Bros. Cartoons 1939-1957 (1995)


“That’s All, Folks!”

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