Allan Gray (composer)

Allan Gray
Allan Gray
Born	Józef Żmigrod; February 23, 1902[1]; Tarnów, Austria-Hungary; (now Tarnów, Poland)
Died	September 10, 1973 (aged 71)[1]; England, United Kingdom
Era	20th century

Józef Żmigrod (February 23, 1902 – September 10, 1973), better known by his stage name, Allan Gray, was a Polish composer, best known for his film scores.

Early life and education

Gray was born Józef Żmigrod in Tarnów, Austria-Hungary, in present-day Poland. He studied under the renowned Austrian composer Arnold Schönberg during the 1920s, and later wrote music for Max Reinhardt's theatre productions. As Schoenberg disapproved of such music, Żmigrod took up the stage name Allan Gray, naming himself after Oscar Wilde's Dorian Gray.[2]

Career

Gray began writing film scores in the Weimar Republic, but left the country after the rise of Nazi Germany, moving to the United Kingdom and settling down in England. Establishing himself in the British film industry, he composed for London Films and other major studios before joining Powell and Pressburger for many of their films including The Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), I Know Where I'm Going! (1945) and A Matter of Life and Death (1946).

Later life and death

Gray died in Amersham, Buckinghamshire, England, United Kingdom, on September 10, 1973.

Discography

Film scores

Berlin-Alexanderplatz (1931)
Emil and the Detectives (1931)
Man Without a Name (1932)
The Countess of Monte Cristo (1932)
F.P.1 (1933)
The Burning Secret (1933)
Mauvaise Graine (1934)
Emil and the Detectives (1935 remake)
The Last Waltz (1936)
The House of the Spaniard (1936)
Wolf's Clothing (1936)
Secret of Stamboul (1936)
School for Husbands (1937)
Kate Plus Ten (1938)
There's No Tomorrow (1939)
The Silver Fleet (1943)
The Life and Death of Colonel Blimp (1943)
The Volunteer (1943)
A Canterbury Tale (1944)
I Know Where I'm Going! (1945)
Latin Quarter (1945)
This Man Is Mine (1946)
A Matter of Life and Death (1946)
Mr. Perrin and Mr. Traill (1948)
The Reluctant Widow (1950)
The Late Edwina Black (1951)
The African Queen (1951)

Other works

Wavelength ABC, a children's opera

In popular culture

Gray's "Swing Doors" is featured in the 2008 American video game Fallout 3.
Gray's "Swing Doors" is featured in the documentary The Color of War, in episode "Victory in Europe".
Gray's "Swing Doors" is featured in an episode of Father Knows Best.

gollark: Maybe we could replace the people in the miniature universe with slightly smarter people, and give them better pens.

gollark: Sensors and propulsion are pretty useful, as we're meant to be surveying stuff and whatnot. Mining and power are important for infrastructure, I guess. Computing isn't too much of a problem as the magic computer box™ is only 10 minerals.

gollark: We don't really need weapons much, so that just leaves... everything else.

gollark: Anyway, can we get the research forks to focus on specific areas?

gollark: It's fine, we're probably overthinking this a lot...

References

Bergfelder, Tim (2003). "Biography: Gray, Allan (1902-1973)". Encyclopedia of British Film. British Film Institute. Archived from the original on June 1, 2004. Retrieved June 1, 2004. Trained in Berlin under Arnold Schönberg, Allan Gray (born Josef Zmigrod in Tarnow, Poland) was an established composer for stage, cabaret, and screen before his emigration in 1933. His film scores in Britain were playfully eclectic in style, alternating between haunting romanticism, catchy melodies, and occasional stark modernist touches. Gray's arguably most experimental work can be found in his collaborations with Powell and Pressburger, particularly in "I Know Where I'm Going!" (1945), where he inventively used Scottish folklore, and in "A Matter of Life and Death" (1946), where ticking clocks and repetitive piano scales evoke the monotony of celestial afterlife.
"Allan Gray: A Brief Biography". The Powell & Pressburger Pages. Archived from the original on May 15, 2003. Retrieved May 15, 2003. Allan Gray was, as was the case with so many Archers, a German emigre. Born Josef Zmigrod in Poland in 1902 Gray was a fully fledged participant in the culture of Weimar Berlin. Studying under the modernist Arnold Schoenberg, he paid for his tuition by composing jazz-inflected music for the cabaret. Schoenberg disapproved and Zmigrod took up the name of Oscar Wilde's famous hedonist (Dorian) Gray for his cabaret work. Gray realised his ability was for pastiche and incidental music and abandoned original composition of 'serious' music. He began to compose for films, at Ufa where he met Emeric Pressburger. Their paths were to cross again, working on the same film The Challenge in the mid-thirties. After the start of the war however, like Alfred Junge and Erwin Hillier as well, he was used for the Powell and Pressburger-produced The Silver Fleet. The first real use of Gray's talents however, came with The Life and Death of Colonel Blimp, with its playful use of different periods and moods and Gray's capacity for making music referential and reminiscent of three eras, the eighteen-nineties, the nineteen-teens and the nineteen-forties. On their next film A Canterbury Tale, the film was to begin with the ringing bells of Canterbury Cathedral and Allan Gray selected the notes of the peal which they would ring (although in fact the bells which appear on camera are fibreglass miniatures), and he mixed this peal into the music at the beginning and end of the film. Gray's ability to create a 'playful referential score' was again needed to evoke the lingering spirit of the medieval pilgrims. Gray's chief task on the film after that was to write the orchestration for an Irish song, "I know Know Where I'm Going", which gave its name to the film. Gray's most memorable piece of music, which was also the most apparent to the audience, was written for A Matter of Life and Death. The composition was 'the hauntingly simple, slightly atonal piano theme which accompanies the staircase to heaven.' After A Matter of Life and Death the Archers began using Brian Easdale on their films. Initially this was only for Black Narcissus and Gray was recalled for The Red Shoes. However this called for original ballet music and Gray found he was no longer playing to his strengths. Michael Powell wrote: "His main gift was a dramatic one. He had the capacity to enter into the idea of a scene or a situation, but it was still film music in the traditional way, applied on, as it were, mixed into the sound-track and the dialogue of the actors, like glazing on a rich ham..". Robert Helpmann, the choreographer of the ballet declared at the time that the music he was writing was "utterly commonplace" and said he would withdraw from the film if it became any more "to the public taste". So it was that Gray parted with the Archers with Easdale again replacing him. Gray's music had become synonymous with the Archers at their most playful, but as their concerns with 'Art' became more pronounced, with Powell frequently referring to 'Art' as their aspiration post war, Gray's abilities no longer suited the company.

External links

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[BFISO-1] Bergfelder, Tim (2003). "Biography: Gray, Allan (1902-1973)". Encyclopedia of British Film. British Film Institute. Archived from the original on June 1, 2004. Retrieved June 1, 2004. Trained in Berlin under Arnold Schönberg, Allan Gray (born Josef Zmigrod in Tarnow, Poland) was an established composer for stage, cabaret, and screen before his emigration in 1933. His film scores in Britain were playfully eclectic in style, alternating between haunting romanticism, catchy melodies, and occasional stark modernist touches. Gray's arguably most experimental work can be found in his collaborations with Powell and Pressburger, particularly in "I Know Where I'm Going!" (1945), where he inventively used Scottish folklore, and in "A Matter of Life and Death" (1946), where ticking clocks and repetitive piano scales evoke the monotony of celestial afterlife.

[2] "Allan Gray: A Brief Biography". The Powell & Pressburger Pages. Archived from the original on May 15, 2003. Retrieved May 15, 2003. Allan Gray was, as was the case with so many Archers, a German emigre. Born Josef Zmigrod in Poland in 1902 Gray was a fully fledged participant in the culture of Weimar Berlin. Studying under the modernist Arnold Schoenberg, he paid for his tuition by composing jazz-inflected music for the cabaret. Schoenberg disapproved and Zmigrod took up the name of Oscar Wilde's famous hedonist (Dorian) Gray for his cabaret work. Gray realised his ability was for pastiche and incidental music and abandoned original composition of 'serious' music. He began to compose for films, at Ufa where he met Emeric Pressburger. Their paths were to cross again, working on the same film The Challenge in the mid-thirties. After the start of the war however, like Alfred Junge and Erwin Hillier as well, he was used for the Powell and Pressburger-produced The Silver Fleet. The first real use of Gray's talents however, came with The Life and Death of Colonel Blimp, with its playful use of different periods and moods and Gray's capacity for making music referential and reminiscent of three eras, the eighteen-nineties, the nineteen-teens and the nineteen-forties. On their next film A Canterbury Tale, the film was to begin with the ringing bells of Canterbury Cathedral and Allan Gray selected the notes of the peal which they would ring (although in fact the bells which appear on camera are fibreglass miniatures), and he mixed this peal into the music at the beginning and end of the film. Gray's ability to create a 'playful referential score' was again needed to evoke the lingering spirit of the medieval pilgrims. Gray's chief task on the film after that was to write the orchestration for an Irish song, "I know Know Where I'm Going", which gave its name to the film. Gray's most memorable piece of music, which was also the most apparent to the audience, was written for A Matter of Life and Death. The composition was 'the hauntingly simple, slightly atonal piano theme which accompanies the staircase to heaven.' After A Matter of Life and Death the Archers began using Brian Easdale on their films. Initially this was only for Black Narcissus and Gray was recalled for The Red Shoes. However this called for original ballet music and Gray found he was no longer playing to his strengths. Michael Powell wrote: "His main gift was a dramatic one. He had the capacity to enter into the idea of a scene or a situation, but it was still film music in the traditional way, applied on, as it were, mixed into the sound-track and the dialogue of the actors, like glazing on a rich ham..". Robert Helpmann, the choreographer of the ballet declared at the time that the music he was writing was "utterly commonplace" and said he would withdraw from the film if it became any more "to the public taste". So it was that Gray parted with the Archers with Easdale again replacing him. Gray's music had become synonymous with the Archers at their most playful, but as their concerns with 'Art' became more pronounced, with Powell frequently referring to 'Art' as their aspiration post war, Gray's abilities no longer suited the company.