Tuesday, March 26, 1985. Elmer Bernstein has been in Munich for a week now, recording his score for an expensive German film production at the Bavaria Music Studios. He was hired by director Angelika Weber to score her feature film debut, “Marie Ward”.
The film stars Hannelore Elsner in the title tole, with a supporting case headed by Mathiew Carrièrem Mario Adorf, Anton Diffring, Monika Peitsch, and Bernhard Wicki. Marie Ward was the founder of an ‘English Fräulein” order; she was born in England in 1985 and all her life fought for independence and anew acceptance of religion in a Protestant England. She was challenged by the Church and by a male-oriented society, but she never gave up – she was, in a way, one of the first emancipated women.
“Marie Ward” is a truly ambitious project with a big budget in European film terms (DM 8,000,000; approximately $2,500,000), helmed by a charming young woman: How did it occur to Angelika Weber to approach Elmer Bernstein for the score of her film?
“I knew his name, and I had been very impressed by his music for ‘The Ten Commandments’ and ‘Ghostbusters’. So I flew to Los Angeles with the script as well as video tapes, and I was able to convince Mr. Bernstein.” He was immediately captivated by the life and work of the fascinating Marie Ward. (Miss Weber was even given permission to shoot scenes on St. Peter’s Place and in the Vaticna, something that was never granted to Otto Preminger and Franco Zeffirelli!)
Sitting behind the mixing console a the Bavaria Music Studio, Bernstein listens to the Regensburger Domspatzen chorus. Also present are producer Janusch Kozminsky, director Angelika Weber, Christopher Palmer, and George Korngold. The Domspatzen chorus will be heard three times in the film; once performing Palestina’s motet Laudate Dominum, sing a capella, then a piece from Purcell’s King Arthur, with a soloist and full orchestra, and finally the same composition by Purcell but now interpreted by the complete chorus, in each case conducted by Mr. Bernstein.
During these last few days, the orchestral music for the picture (and the record album, to be released by Celine) have been recorded here, with Elmber Bernstein conducting 60 musicians of the Bavarian State Opera. The main title of the film keeps a careful balance between pathos and grandeur, and the style is reminiscent of the composer’s “Mockingbird” and “Birdman of Alcatraz”. Especially noteworthy is his use of the Ondes Martenot, which give the score an eerie, almost supernatural sound.
While the chorus is being assembled for a group photo, I take the opportunity to ask Mr. Bernstein a few questions.
Please tell us about the music you have written for this picture.
It’s absolutely in the classical idiom, with a spiritual character, because the story has a religious subject. But you can’t compare the music with, for example, “The Ten Commandments”.
Yesterday I looked up an interview where you said that you divided your scores into ‘families’ concerning the genre. What ‘family’ does this score belong to?
Actually, none at all. It’s a completely new category for me.
It’s not the first time you have recorded in West Germany, is it?
That is correct. I have been here before, just once, at the same studios. In 1958, for “The Buccaneer”.
Your son Peter seems to be very active in the cinema. You conducted “Bolero” but you didn’t score of the scenes, I believe…
Yes, I conducted only. Peter’s next project is a Disney production. He will come to Munich to record the score. In fact, he was here at the Bavaria Music Studio not too long ago.
It’s time to take the group photo and Mr. Bernstein sits on the floor in front of the choir so that he blends in with them. Later on, he good-naturedly signs autographs when a number of children from the Domspatzen surround him. I noticed he writes left-handed, like many geniuses. The man with the golden left arm.