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Bronislau Kaper

Bronislaw Kaper

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	SoundtrackCollector: Composer Details: Bronislau Kaper
		Bronislau Kaper was born in Warsaw, Poland on February 5, probably in 1902, although Kaper wasn't positive of the year because his birth certificate had undergone a number of changes.
		After moving to Paris, he was "discovered" by Louis B. Mayer, who had heard Kaper's song "Ninon" and in 1936 the composer went to Hollywood, signing a series of contracts with MGM and writing for that studio until the early 1960s.
		In 1953 Kaper won the Academy Award for Lili, which contained the song "Hi-Lili, Hi-Lo" and he was nominated for an Academy Award on three other occasions.
	www.soundtrackcollector.com /catalog/composerdetail.php?composerid=88 (0 words)

	Bronislau Kaper - Films as composer:
		Born in Warsaw in 1902, Kaper discovered an affinity with the piano at the age of seven.
		Kaper was thereupon offered an MGM contract and arrived in Los Angeles in early 1936.
		A man noted for his wit and charm, Kaper was active in the musical life of Los Angeles as a member of the board of the Philharmonic Orchestra.
	www.filmreference.com /Writers-and-Production-Artists-Ja-Kr/Kaper-Bronislau.html (1082 words)

	Jazz Standards History: Biography (Bronislau Kaper)
		Bronislau Kaper was a musical prodigy who studied law and music in his native Poland before moving to Berlin to pursue music.
		In 1947 Kaper’s score for Green Dolphin Street produced a jazz classic, “On Green Dolphin Street.” He won an Oscar for Lili (1953), which contained the song “Hi-Lili Hi-Lo,” and was nominated in 1962 for the Mutiny on the Bounty score and its love song, “Follow Me” with Paul Francis Webster’s lyrics.
		Bronislau Kaper with Walter Jurmann and Gus Kahn
	www.jazzstandards.com /biographies/bronislau_kaper.htm (343 words)

	Quentin Durwood: Bronislau Kaper: Film Music on the Web CD Reviews Summer 2005 (Site not responding. Last check: 2007-10-28)
		Kaper’s score is written very much in the tradition of Korngold’s action-adventure scores, building the score from a series of themes for the various characters.
		Kaper’s counterpoint is consistently impressive, and he incorporates the motivic material so well into his many action set-pieces that it’s never hard to imagine what’s happening on screen.
		Interesting as it is to hear Kaper’s voice in a genre we haven’t heard him in before, I am probably not the only one for whom this score might have done more three years ago, before the market flooded with original and reconstructed recordings of many entries in the derring-do genre.
	www.musicweb-international.com /film/2005/sum05/qdurwood.html (1204 words)

	Glass Slipper
		Caron teamed up with her Lili director, Charles Walters, and Oscar-winning composer, Bronislau Kaper, to recapture the magic of the earlier film.
		Kaper employs some charming variations of the theme during the energetic "Kitchen Ballet".
		In addition to the numerous underscoring cues and the song, Kaper composed three ballets and each of those scenes had to be filmed to his pre-existing music.
	www.settling-the-score.com /glass-slipper.html (249 words)

	The Invitation / A Life of Her Own: Bronislau Kaper: Film Music on the Web CD Reviews April 2006 (Site not responding. Last check: 2007-10-28)
		Like the Raksin theme, the Kaper theme appears as both underscore and source music within the score, and the score, while it departs from the chief melody, is largely monothematic.
		Bronislau Kaper was a composer of classic film songs as well as film scores -- "Lili," "On Green Dolphin Street" and "All God's Chillun Have Rhythm" are among his most famous works.
		Kaper's "Theme From Invitation" dominates the score as a haunting expression of Maguire's anxiety, love and heartbreak, but the soundtrack also features beautiful, transparent writing for her family life, and dark currents for her obsessive search for the truth.
	www.musicweb.uk.net /film/2006/apr06/invitation.html (1214 words)

	Bronislau Kaper - Overview - MSN Movies
		Biography:"Bronislau Kaper" was a composer at MGM for three decades, and although he never achieved the status of his colleague "Miklos Rozsa", he did work on many high-profile films.
		Born in Warsaw, Poland, probably in 1902 (although Kaper himself was never sure of the year), he was a child prodigy at the piano from the age of six.
		Following Hitler's rise to power, Kaper made Paris his base of operations and in 1935 he moved to Hollywood, where he was signed to MGM, partly thanks to studio chief "Louis B. Mayer"'s being a fan of Kaper's, for his song "Ninon." In contrast to his later career,...
	entertainment.msn.com /celebs/celeb.aspx?c=362729 (200 words)

	Bronislau Kaper - film composer
		Bronislau (originally Bronislaw) Kaper was born in Warsaw in Poland and studied piano from an early age before graduating from the Chopin Music School.
		Kaper was a widely experienced composer who could turn his hand to virtually any kind of music.
		For "The Brothers Karamazov" Kaper introduces some harsh modernistic elements to his Russian sounding score making the music seem to touch the style of Shostakovich.
	www.mfiles.co.uk /composers/Bronislau-Kaper.htm (403 words)

	Bronislau Kaper
		In his early days in Hollywood, Kaper contributed songs to everything from the zany antics of the Marx Brothers to dramas such as the title song from San Francisco (lyrics by Gus Kahn) and "Love Song of Tahiti" from Mutiny on the Bounty.
		Kaper came into his own as a film composer finally in the 1940s and 50s.
		With the collapse of the studio system, Kaper worked as a freelance composer into the 60s contributing fine scores to Lord Jim (1965) and his final film, A Flea In Her Ear (1968), as delightful a score as Kaper ever produced.
	www.settling-the-score.com /bronislau-kaper.html (365 words)

	Bronislau Kaper - Biography (Site not responding. Last check: 2007-10-28)
		One of his first efforts for MGM was the title tune for the film San Francisco (1936), a song which was so appealing to the American public that it became a standard.
		Born Bronislaw Kaper, his name was misread during his immigration years (the closing "w", hastily printed, was read as "u" by people not knowing the Slavic names).
		As a result, he is often, incorrectly, referred to as "Bronislau" Kaper - a name which does not exist and never has.
	us.imdb.com /name/nm0006147/bio (0 words)

	Amazon.com: Mutiny on the Bounty: Music: Bronislau Kaper (Site not responding. Last check: 2007-10-28)
		Kaper's use of South Seas rhythms and chorus, along with familiar English melodies, add authenticity to the seafaring saga that moves from the North Atlantic to the the South Pacific.
		Its crowning glory is Bronislau Kaper's masterpiece of a score -- one of the greatest ever written and one of the most magnificent recordings of a score ever done.
		Kaper's inspiration for the final form of this piece owes a bit of debt to a similar sequence in Miklos Rozsa's "Plymouth Adventure", but the tribute to empire with "Rule, Brittania" truly gets the blood roused.
	www.amazon.com /Mutiny-Bounty-Bronislau-Kaper/dp/B0006SSQAM (1591 words)

	Lili
		Kaper was given the choice between scoring Plymouth Adventure and Lili.
		Later Kaper skillfully weaves the tune into the ballet sequence at the end of the film.
		Kaper said that his score for Lili was special because he got to write both the score, including ballet music, and all the songs.
	www.settling-the-score.com /lili.html (485 words)

	VH1.com : Movies : Person : Bronislau Kaper : Biography
		Thus, Kaper was assigned Mutiny on the Bounty; the movie, a high profile, enormously expensive epic, was a critical disaster and a box-office failure, but not because of the music, which (along with Richard Harris's performance) was one of the few things that people liked about the movie.
		Kaper had big cinematic canvases on which to work, in Lord Jim, Tobruk, and The Way West, but none of the films was notably successful at the box office.
		Over a nearly 40-year career, Kaper could write in any range of idioms, from early 20th century light pop music to large, bold, expansive orchestral scores, and even did a credible job in a Western idiom in The Way West, at the end of his professional life.
	www.vh1.com /movies/person/85446/bio.jhtml (661 words)

	Lili: Bronislau Kaper: Film Music on the Web CD Reviews February 2006 (Site not responding. Last check: 2007-10-28)
		Kaper’s music works skilfully on multiple levels here, the title song capturing the love between Lili and the puppets and the anger and heartbreak between Paul and herself.
		Bronislau Kaper considered Lili his favorite among his many film projects and the score deservedly won him an Academy Award.
		In addition to the song, Kaper got to write two well-developed ballets for Lili (for fantasy dream sequences), blending a melodic and pop accessibility with symphonic classical development in an appropriately French style (recalling Debussy and Ravel).
	www.musicweb.uk.net /film/2006/feb06/lili.html (690 words)

	Brothers Karamazov, The - Music from the Movies
		Kaper's stated intention was to signal to the audience at the outset that this was not “another family picture.” In this, he must surely have been successful.
		There is little of that Russian master's quicksilver lyricism, nor any of his flirtations with dissonance, except to a limited extent in 'Sapling', in which an impromptu horse race is arranged.
		Not surprisingly for FSM, the accompanying booklet is a first rate piece of work, with a great deal of information about Kaper, the background to the production, director Richard Brooks and, of course, each of the cues themselves.
	www.musicfromthemovies.com /review.asp?ID=807 (520 words)

	Bronislau Kaper (Site not responding. Last check: 2007-10-28)
		Born Bronislaw Kaper, his name was misread during his immigration years...
		Edward Kane / Bronislaw Kaper / Bronsilaw Kaper / Benjamin Kapper
		Find where Bronislau Kaper is credited alongside another name
	www.imdb.com /name/nm0006147 (716 words)

	buysoundtrax.com - The Glass Slipper (Site not responding. Last check: 2007-10-28)
		Both films were a kind of quasi-musical starring Leslie Caron as a forlorn innocent, and were made by much of the same creative team, including composer Bronislau Kaper and screenwriter/lyricist Helen Deutsch.
		Kaper and Deutsch had collaborated on the popular song "Hi-Lili, Hi-Lo" for Lili, and reteamed for a romantic ballad for The Glass Slipper, "Take My Love" -- an infectious waltz anchoring the film and score.
		Kaper loved this type of scoring in which music played a foreground element, and he colorfully evoked the film's fairy-tale world of 18th century Europe.
	www.buysoundtrax.com /fsm_glass_slipper.html (385 words)

	Bronislau Kaper
		Bronislau Kaper (1902 - 1983) Born in Warsaw, Poland.
		A graduate of the Warsaw Conservatory, he wrote concert music and scored early German sound films, usually in collaboration with Austrian composer Walter Jurman.
		After Hitler came to power, Kaper emigrated to the US via France and began contributing songs for Hollywood films in the mid-30s, often in collaboration with lyricist Gus Kahn.
	kokomo.ca /_private/composer/Kaper_B.htm (90 words)

	Screen Archives
		Lucille Ball and Desi Arnaz were two of the world's most famous celebrities in the 1950s, having parlayed their respective talents in movies and music into the groundbreaking TV sitcom, I Love Lucy.
		The Long, Long Trailer was a delightful road picture in which Lucy and Desi (in variations on their television characters) star as a newlywed couple who try to live out of a trailer -- with disastrous results.
		Bronislau Kaper scored Forever, Darling during a "fairy tale" period in which he also scored The Swan and The Glass Slipper.
	www.screenarchives.com /fsm/detailCD.cfm?ID=377 (524 words)

	Willkommen auf den Seiten des Soundtrack Clubs
		Invitation (1952) /A Life of Her Own (1950), Bronislau Kaper
		The Long, Long Trailer, Adolph Deutsch / Forever, Darling, Bronislau Kaper
		Lord Jim, Bronislau Kaper / The Long Ships, Duran Radic
	www.soundtrack-club.net /fsmlimited.htm (0 words)

	Monstrous Movie Music \| Sound Space \| SCI FI Weekly
		On the other hand, all of the music for the movie was original, as opposed to having been "tracked" in from other films.
		These 11 cues from the best of all "giant insect" flicks were written by Bronislau Kaper, who is perhaps better known for his soundtrack for Mutiny on the Bounty.
		This was Kaper's only foray into sci-fi horror, but what a foray it is! One of the highlights is the rumbling piano build with crashing brass and strings ushering in the "Main Title." The score is founded on two pianos, closely miked and used mostly for rhythmic purposes and musical sound effects.
	www.scifi.com /sfw/sound/sfw2556.html (862 words)

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