The music scores of Hans J. Salter, Frank B. Skinner and Charles M. Previn for the Universal Studios' horror films of the 1940's have never received the acclaim that they richly deserve! The Motion Picture Academy of Arts and Sciences should award a posthumous Oscar Award to those three men for their magnificent, memorable film scores for Universal Studios' classic horror films! The gorgeously beautiful music in the climatic scene in "Son of Dracula"(1943) from the moment when Frank Stanley (played superbly by Robert Paige) stumbles down the hallway to enter the playroom at Dark Oaks to destroy the coffin and body of his vampiric fiancee Katherine Caldwell (who Count Alucard turned into a vampire after Frank Stanley accidentally killed her when he shot through Count Alucard) to the moment as he watches as her coffin goes up in flames is one of the single greatest pieces of instrumental music ever composed for the movies! The absolutely heartbroken look on Frank Stanley's face as he watches the body of his fiancee, the woman who he deeply loved since they were young, go up in flames because out of compassion he destroyed her body to free her soul from her horrific vampiric condition, is so sad that that moment is unquestionably one of the greatest ending scenes in a movie in cinematic history, despite the fact that it has incredibly never been recognized as such! The word "genius" is a word thrown about too loosely in our society, but that single piece of memorable, gorgeously beautiful music is proof positive of the true genius of Hans J. Salter, Frank B. Skinner and Charles M. Previn!
Friend, Don't know who you are, but is a lifelong composer of both classical and popular music for the past 60 years, who first heard this music in his teenage years and his young passion for universal horror pictures, and who was bitten by the composers bug after hearing such compelling a beautiful music from these three individuals you mentioned, I also along with my boy had friend Preston Jones, who later was introduced to Hans J. J. Salter through my intercession, and who went to Hollywood and interviewed salter for a two issue career article in the film magazine. Cinefantastique, both agree that the apocalyptic sequence you mention at the cremation scene is truly the very high points of universal or any film, soundtrack. The cue and question was actually overwhelmingly the work of Frank Skinner, originally composed through the invisible man returns three years earlier, but Mr. Salter, who was a personal friend of mine, added a beautiful violin obligado to emphasize the love interest, and it brought it to an entirely new height. Exquisite creation, from beginning to end. If this is genre of music interest to you as deeply as it seems to, I highly recommend the Magic film book, The Wolf Man I fill up J. Reilly, for which I wrote and extensive article on the combined work of Hans J. J. Frank Skinner and Charles Previn on that magnificent score. You can't afford to miss it! Drop me a line sometime - and I'll be happy to send you a few pages of the original scores. Joseph Marcello JosephMarcello@verizon.net
@@josephmarcello7481 . Thanks Joseph for the information regarding the climatic music at the end of "Son of Dracula"(1943)! I forget where I read it, but I read somewhere some time ago that that magnificent piece of music was written primarily by Frank B. Skinner who "bookended" the middle segment of that piece of music by Hans J. Salter played when the camera shows a close-up of Katherine Caldwell's (actress Louise Albrighton's) face in the coffin in the playroom at Dark Oaks. Apparently whoever wrote that got that fact wrong if most of that brilliant piece of concluding music was composed by Hans J. Salter. What you wrote in your response message to my posted comment makes sense because it would be highly unlikely that Salter would only write the middle segment in that piece of music for that scene in the film and not the full piece of music (or nearly the full piece of music) while another composer wrote the beginning and ending segments which surround that middle part. I also remember reading many years ago how Salter and Skinner were under enormous pressure to score films for Universal Studios back in the 1940's because they had to work on an almost "assembly line"-like basis in which Salter would compose and arrange some music and then while getting some sleep, Skinner would then record with the Universal musicians the music written by Salter, and then Skinner would compose and arrange some music and then while he got some sleep, Salter would record with the Universal musicians the music Skinner wrote. And then after completing their composing , arranging and recording of music for one Universal film, they would immediately have to start work on another Universal film! Thanks for the offer to send me some sheet music from those Universal Studios' horror film music scores, but unfortunately I can't read music. It is so sad that Universal never saved the complete, original recordings of those magnificent Salter/Skinner/Previn music scores from their classic horror films of the 1940's for posterity. Universal Studios never realized just how iconic those music scores would become! Sadly, only the composers' original music cues still exist. Some years ago an orchestra tried to recreate note-for-note the original sound of those great music scores as heard in the films, and that orchestra came very close to recreating the exact sound of those original recordings, but it was, of course, impossible to duplicate exactly the original great sound of that music that is heard in those films! One if my favorite pieces of music from those films is the music Salter wrote for the opening scene at the beginning of "The Mummy's Hand"(1941) in whichProfessir Andoheb ( played superbly by veteran horror film actor George Zucco) exits the train station and takes a camel ride into the Egyptian desert outside Cairo to assume from his dying father his duties as the new High Priest of Arkon or Karnak. Whenever you hear that gorgeous piece of beautiful, soothing music, you instantly visualize in your mind the country of Egypt, the Sphinx and the Great Pyramid at Giza.
Wonderful, Fish Man! I know of no recording (e.g. LP or CD) that has this much SoD music. Did you record directly from the movie? Maybe. Thanks for posting, regardless.
I have finished extracting and compiling the music from Forever Evil 1987 for you. Here is the link. Hope you enjoy it. I'll be working on the music from Dracula's Daughter in the next few days. th-cam.com/video/Eo9wp3YQtkI/w-d-xo.html
![The Brides of Dracula [Orchestral & Isolated Film Score] (1960)](/img/n.gif)
The ending is my favorite 🖤
The music scores of Hans J. Salter, Frank B. Skinner and Charles M. Previn for the Universal Studios' horror films of the 1940's have never received the acclaim that they richly deserve! The Motion Picture Academy of Arts and Sciences should award a posthumous Oscar Award to those three men for their magnificent, memorable film scores for Universal Studios' classic horror films! The gorgeously beautiful music in the climatic scene in "Son of Dracula"(1943) from the moment when Frank Stanley (played superbly by Robert Paige) stumbles down the hallway to enter the playroom at Dark Oaks to destroy the coffin and body of his vampiric fiancee Katherine Caldwell (who Count Alucard turned into a vampire after Frank Stanley accidentally killed her when he shot through Count Alucard) to the moment as he watches as her coffin goes up in flames is one of the single greatest pieces of instrumental music ever composed for the movies! The absolutely heartbroken look on Frank Stanley's face as he watches the body of his fiancee, the woman who he deeply loved since they were young, go up in flames because out of compassion he destroyed her body to free her soul from her horrific vampiric condition, is so sad that that moment is unquestionably one of the greatest ending scenes in a movie in cinematic history, despite the fact that it has incredibly never been recognized as such! The word "genius" is a word thrown about too loosely in our society, but that single piece of memorable, gorgeously beautiful music is proof positive of the true genius of Hans J. Salter, Frank B. Skinner and Charles M. Previn!
Bravo.
Friend,
Don't know who you are, but is a lifelong composer of both classical and popular music for the past 60 years, who first heard this music in his teenage years and his young passion for universal horror pictures, and who was bitten by the composers bug after hearing such compelling a beautiful music from these three individuals you mentioned, I also along with my boy had friend Preston Jones, who later was introduced to Hans J. J. Salter through my intercession, and who went to Hollywood and interviewed salter for a two issue career article in the film magazine. Cinefantastique, both agree that the apocalyptic sequence you mention at the cremation scene is truly the very high points of universal or any film, soundtrack.
The cue and question was actually overwhelmingly the work of Frank Skinner, originally composed through the invisible man returns three years earlier, but Mr. Salter, who was a personal friend of mine, added a beautiful violin obligado to emphasize the love interest, and it brought it to an entirely new height. Exquisite creation, from beginning to end.
If this is genre of music interest to you as deeply as it seems to, I highly recommend the Magic film book, The Wolf Man I fill up J. Reilly, for which I wrote and extensive article on the combined work of Hans J. J. Frank Skinner and Charles Previn on that magnificent score. You can't afford to miss it!
Drop me a line sometime - and I'll be happy to send you a few pages of the original scores.
Joseph Marcello
JosephMarcello@verizon.net
@@josephmarcello7481 . Thanks Joseph for the information regarding the climatic music at the end of "Son of Dracula"(1943)! I forget where I read it, but I read somewhere some time ago that that magnificent piece of music was written primarily by Frank B. Skinner who "bookended" the middle segment of that piece of music by Hans J. Salter played when the camera shows a close-up of Katherine Caldwell's (actress Louise Albrighton's) face in the coffin in the playroom at Dark Oaks. Apparently whoever wrote that got that fact wrong if most of that brilliant piece of concluding music was composed by Hans J. Salter. What you wrote in your response message to my posted comment makes sense because it would be highly unlikely that Salter would only write the middle segment in that piece of music for that scene in the film and not the full piece of music (or nearly the full piece of music) while another composer wrote the beginning and ending segments which surround that middle part. I also remember reading many years ago how Salter and Skinner were under enormous pressure to score films for Universal Studios back in the 1940's because they had to work on an almost "assembly line"-like basis in which Salter would compose and arrange some music and then while getting some sleep, Skinner would then record with the Universal musicians the music written by Salter, and then Skinner would compose and arrange some music and then while he got some sleep, Salter would record with the Universal musicians the music Skinner wrote. And then after completing their composing , arranging and recording of music for one Universal film, they would immediately have to start work on another Universal film! Thanks for the offer to send me some sheet music from those Universal Studios' horror film music scores, but unfortunately I can't read music. It is so sad that Universal never saved the complete, original recordings of those magnificent Salter/Skinner/Previn music scores from their classic horror films of the 1940's for posterity. Universal Studios never realized just how iconic those music scores would become! Sadly, only the composers' original music cues still exist. Some years ago an orchestra tried to recreate note-for-note the original sound of those great music scores as heard in the films, and that orchestra came very close to recreating the exact sound of those original recordings, but it was, of course, impossible to duplicate exactly the original great sound of that music that is heard in those films! One if my favorite pieces of music from those films is the music Salter wrote for the opening scene at the beginning of "The Mummy's Hand"(1941) in whichProfessir Andoheb ( played superbly by veteran horror film actor George Zucco) exits the train station and takes a camel ride into the Egyptian desert outside Cairo to assume from his dying father his duties as the new High Priest of Arkon or Karnak. Whenever you hear that gorgeous piece of beautiful, soothing music, you instantly visualize in your mind the country of Egypt, the Sphinx and the Great Pyramid at Giza.
16:41-16:51 is what made me look this song up, I’m glad I was able to find it
Wonderful, Fish Man! I know of no recording (e.g. LP or CD) that has this much SoD music. Did you record directly from the movie? Maybe. Thanks for posting, regardless.
14:05 The rooster crows !
Any chance for the scores for Dracula's Daughter (1936) and Forever Evil (1987), love this channel!
I have finished extracting and compiling the music from Forever Evil 1987 for you. Here is the link. Hope you enjoy it. I'll be working on the music from Dracula's Daughter in the next few days.
th-cam.com/video/Eo9wp3YQtkI/w-d-xo.html
@@fishman3786 Thank You!!!