Lara's Theme
Maurice Jarre
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Browse piano sheets by Maurice Jarre on Zen Virtual Piano. According to The Independent, Jarre’s international career took off in 1962; he scored the D-Day epic The Longest Day, but what really helped was being second choice for another film. Time writes that the producer Sam Spiegel had originally wanted Lawrence of Arabia to have three composers, with Jarre doing the dramatic music beside Aram Khachaturian and Benjamin Britten, and that in the end Jarre composed the whole score for Lawrence and for the three Lean films that followed. Perhaps a 1962 breakthrough that the Independent links to being second choice for another film is a breakthrough and a second-choice moment side by side. The Guardian says the Lyon family Jarre was born into had no musical connections; his parents urged him to study engineering, but after starting at the Sorbonne he changed to a music degree at the Paris Conservatoire, where Louis Aubert was among his teachers. The Independent’s obituary reports that when he was fifteen he knew nothing of music and that, against his father’s will, he enrolled at the Conservatoire, choosing the unusual major instrument of percussion. A late start, a father’s objection and a percussion major suggest a musician who came to composition by his own route, and a willingness to choose the less obvious instrument. The young Georges Franju first engaged him to compose a film score, for the short documentary Hôtel des Invalides (1952). In the 1980s Jarre began using electronic instruments; for Witness he hired ten synthesists, each working on sections of the score simultaneously, while Jarre conducted them as he would a chamber ensemble. A composer who conducted ten synthesists like a chamber group suggests an ear that carried the old discipline into new instruments. Screenonline calls him a triple Oscar winner for his score for David Lean’s Lawrence of Arabia (1962), for Doctor Zhivago (1965), with its romantic Lara’s Theme which became a popular single, and for A Passage to India (1984). Time pictures a thousand balalaikas in chorus in a dreamy waltz. In a conversation on cinescores.dudaone.com he said that he likes to read the script as early as possible, because even if the director and producer make changes, there is still the basic idea, and that a film composer has to be far more disciplined and flexible, because he has to satisfy directors and producers while remaining true to himself. A conductor of ten synthesists on Witness, who also says he likes to read the script early, can be read as a composer who combined early preparation with a large ensemble.
Browse piano sheets by Maurice Jarre on Zen Virtual Piano.
According to The Independent, Jarre’s international career took off in 1962; he scored the D-Day epic The Longest Day, but what really helped was being second choice for another film. Time writes that the producer Sam Spiegel had originally wanted Lawrence of Arabia to have three composers, with Jarre doing the dramatic music beside Aram Khachaturian and Benjamin Britten, and that in the end Jarre composed the whole score for Lawrence and for the three Lean films that followed. Perhaps a 1962 breakthrough that the Independent links to being second choice for another film is a breakthrough and a second-choice moment side by side.
The Guardian says the Lyon family Jarre was born into had no musical connections; his parents urged him to study engineering, but after starting at the Sorbonne he changed to a music degree at the Paris Conservatoire, where Louis Aubert was among his teachers. The Independent’s obituary reports that when he was fifteen he knew nothing of music and that, against his father’s will, he enrolled at the Conservatoire, choosing the unusual major instrument of percussion. A late start, a father’s objection and a percussion major suggest a musician who came to composition by his own route, and a willingness to choose the less obvious instrument.
The young Georges Franju first engaged him to compose a film score, for the short documentary Hôtel des Invalides (1952). In the 1980s Jarre began using electronic instruments; for Witness he hired ten synthesists, each working on sections of the score simultaneously, while Jarre conducted them as he would a chamber ensemble. A composer who conducted ten synthesists like a chamber group suggests an ear that carried the old discipline into new instruments.
Screenonline calls him a triple Oscar winner for his score for David Lean’s Lawrence of Arabia (1962), for Doctor Zhivago (1965), with its romantic Lara’s Theme which became a popular single, and for A Passage to India (1984). Time pictures a thousand balalaikas in chorus in a dreamy waltz. In a conversation on cinescores.dudaone.com he said that he likes to read the script as early as possible, because even if the director and producer make changes, there is still the basic idea, and that a film composer has to be far more disciplined and flexible, because he has to satisfy directors and producers while remaining true to himself. A conductor of ten synthesists on Witness, who also says he likes to read the script early, can be read as a composer who combined early preparation with a large ensemble.
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Maurice Jarre
Common questions
Maurice Jarre was a film composer who studied at the Paris Conservatoire and won three Oscars, for Lawrence of Arabia, Doctor Zhivago and A Passage to India.
It is the romantic theme from Doctor Zhivago, which became a popular single, and Time pictures a thousand balalaikas in chorus in a dreamy waltz.
Georges Franju first engaged him to compose a film score, for the short documentary Hôtel des Invalides (1952).
He began by studying engineering at the Sorbonne but switched to a music degree at the Paris Conservatoire, choosing percussion as his major instrument.