A Landmark Film Score. With his 1961 score for Breakfast at Tiffany's, Henry Mancini truly established himself as the eminent composer of film music for the early part of the 1960s. In his book "Medium Cool," film critic Ethan Mordden observed, one couldn't imagine these tunes, in these orchestrations, making do in any other film: "Moon River," "Latin Golightly," "Something for Cat," "Hubcaps and Taillights," "The Big Heist." With these songs, as well as with his overall arrangement of the music for Breakfast at Tiffany's, Mancini radically challenged the entire era that movie music should provide background and exist as a secondary and relatively formulaic accompaniment to the picture and dialogue. Mancini wanted his music to be conspicuous; he was at the forefront of shifting the aesthetic of motion picture music in Hollywood toward this concept. Mancini's impact in demonstrating that the times were truly changing for Hollywood movie music was evidenced when Breakfast at Tiffany's lapped up the film industry's approval by winning the Academy Award for best original score. His winning of this particular category with a score that was entirely jazz/pop-oriented, and beating out traditional powerhouse Hollywood composers that year, including Miklos Rozsa (El Cid), Elmer Bernstein (Summer and Smoke) and Dimitri Tiomkin (The Guns of Naverone), marked the beginning of a new era for movie music in the United States.
When you think of Henry Mancini, you inevitably think of either "Peter Gunn" or "Moon River." (Well, maybe "The Pink Panther"–but that became a cartoon show, so it doesn't count!) Breakfast at Tiffany's gave the world the latter tune, and that beautiful melody recurs throughout this soundtrack LP, which remained No. 1 on the Billboard pop charts for 12 weeks in 1961. (Music for Peter Gunn in 1959 was Mancini's only other No. 1 album.) The soundtrack doesn't include Andy Williams's hit single of "Moon River," but then neither did the film. It does, however, take you through the many moods of the film (and the exploits of Miss Holly Golightly), with an emphasis on Latin influences in the forms of "Latin Golightly" and "Moon River Cha Cha." Nevertheless, one common complaint has been that RCA could've remastered the music and added additional tracks to flesh out the CD. Maybe in the future… –Bill Holdship(介绍来自网络)
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