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Henry Mancini

 

(born April 16, 1924, Cleveland, Ohio, U.S. — died June 14, 1994, Beverly Hills, Calif.) U.S. composer. While serving in the army air force during World War II, he met Glenn Miller, and after the war he joined Miller's band as an arranger and pianist. He first gained wide attention with his jazz-inflected music for the television series Peter Gunn (1958), but he is perhaps best known for his humorous scores for Blake Edwards's Pink Panther movies. He worked extensively with Edwards throughout his career. He wrote scores for more than 80 films and won four Academy Awards for two songs — "Moon River" and "Days of Wine and Roses" — and for the film scores for Breakfast at Tiffany's (1961) and Victor/Victoria (1982). He also won 20 Grammy Awards and 2 Emmys.

For more information on Henry Mancini, visit Britannica.com.

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The composer, pianist, and theme song scorer Henry Mancini (1924-1994) was a major figure in American music from 1954 until his death. He spear-headed a change in film scoring, replacing the use of symphonic arrangements with elements of jazz, tin pan alley, and popular music.

Henry Mancini composed a legacy of famous and enjoyable film music which moved beyond film's former use of symphonic scores and incorporated elements of jazz and popular music. Mancini won many awards for his music, including four Oscars, 20 Grammys, and two Emmys. Much of his music became even more well known as film soundtracks; he produced over 50 albums and published over 500 of his compositions. His music was characterized by clean melody lines, usually on piano, with a background of French horns and strings. His theme songs for film, including Moon River and The Pink Panther are some of his most well known accomplishments.

Working Class Musical Roots

Mancini was born on April 16, 1924 in Cleveland, Ohio. His family later relocated to Aliquippa, Pennsylvania, a factory town. His father, a steelworker, was a musician who played flute in the Sons of Italy Band. He encouraged young Mancini to take up music as a way to rise above the options of working for a factory. As a child, Mancini was exposed to such composers as Puccini and Rossini; he played and took lessons in flute and piano. He also studied with a theater conductor and began arranging music in his teen years. Mancini discovered early on that he had a knack for arranging music. He took a job arranging for Benny Goodman, but later remarked that "it didn't take long for both Benny and me to find out I wasn't ready for such an ambitious assignment."

Mancini attended college and studied composition and theory at Julliard, but dropped out to serve in the military during World War II. After the war, he moved into the musical arena again, working as a pianist and arranger for the Glenn Miller-Tex Beneke orchestra. He married Ginny O'Connnor, the vocalist for the Mel-Tones band, in 1947. They had three children together.

Hollywood Start

Mancini broke into Hollywood in 1952 when he was given a small two week job at Universal Studios to arrange the music for the Abbott and Costello comedy Lost in Alaska. He continued to work at Universal for the next six years where he arranged or part-scored music for over 100 films. Notable during this period was the popular score that he created to The Glenn Miller Story (1954), which incorporated his background in jazz. One of his first outstanding scores was for the Orson Welles film Touch of Evil (1958). Touch of Evil was unique in that it was one of the first films to use source music, or music that didn't just play in the background but actually came from a visible source in the film story, such as a radio or a nightclub. In the film Mancini used jazz, Latin, and rock tunes. The Glass Menagerie (1987) was another example of a Mancini scored film that uses both source and regular music.

At this point in Mancini's career, he caught the attention of movie producer Blake Edwards, who asked Mancini to score the music for the television series Peter Gunn (1958). The Edwards/Mancini collaboration was to extend into a partnership that spanned the rest of Mancini's life and included 28 films. Some of their work together included: The Great Race, The Days of Wine and Roses, 10, S.O.B, and several of the Pink Panther comedies.

Music Madea Difference

Th e popular music for Peter Gunn was another breakthrough that served to get Mancini more widely recognized and stood apart as an example of a television show where the music really had an impact. The music was notable in its jazzy sparseness, a style that record companies had caught onto but was in its infancy in movie studios. Mancini remarked that "It was the score I wrote for the Peter Gunn TV series that was the big break for me. That use of the jazz idiom, applied dramatically to the story, put music on everybody's mind as far as TV is concerned." Mancini's work for Peter Gunn won him a number of awards, including two Grammys and Best Jazz Record of the Year (in a Down Beat poll).

Mancini continued to produced creative and award winning film music. The score and a theme song (Moon River) to the Edwards film Breakfast at Tiffany's (1961) earned Oscars for Mancini, even though Moon River was almost cut out of the film during production.

Contributed to Musical Trends

Mancini's contribution to film music occurred during a time when changes were shaping the film industry and American culture. In the early 1950s and 1960s, in part due to Mancini's influence, studios began to move away from the traditional symphonic sounds that had served as the backdrop for films. Mancini contributed to this trend by offering jazzy and popular alternatives that were more sparsely scored instrumentally. By the early 1960s, studios were facing increased competition from television and the musical scene in America was hugely impacted by the evolution of rock and roll. Mancini responded well to the changes and took advantages of opportunities to compose for new media, as in his work for television series such as Peter Gunn and Mr. Lucky.

In his studio work, Mancini made an effort to break down pre-existing barriers and to introduce and jazz and contemporary influences to film music that had in the past been predominantly influenced and served by classical musicians. Mancini made a point to bring young musicians of varying backgrounds and interests to film scoring sessions. Mancini was able to see the bigger picture in film production, caring not only about the music but about the quality of the rest of the film making process. Due to his foresight and efforts, his music worked not only for films, but as soundtracks that were sold separately and successfully. He recorded music for the soundtrack so that for listeners, the music stood by itself even without the film. Mancini had the foresight to collaborate with talented lyricists such as Johnny Mercer, which added to the popularity of music such as Moon River.

During his time at Universal, Mancini had opportunities to compose music for a diversity of films. Some of these included: Man Afraid (1957), Summer Love (1958), Creature from the Black Lagoon (1954), and It Came from Outer Space (1953). In 1961 he scored the film Breakfast at Tiffany's, another musical breakthrough in his career which resulted in an Academy Award for the song Moon River from the film. The song used folk influences and was easy to sing. Mancini continued to receive recognition and fame for his film theme songs such as music from the film Days of Wine and Roses (1962) and the well known Pink Panther theme song. No other film composer received as much recognition for theme song composition until Star Wars was released in the 1970s.

Mancini had an appreciation of the art of scoring music to films. A reviewer from the Journal of Popular Film and Television claimed that Mancini's music for the films Touch of Evil (1958) and White Dawn (1974) showed a side of Mancini that many had not seen; the music, in this reviewer's opinion was well composed even though it hadn't been a hit commercially. In later life, Mancini remained busy with the scoring for Victor/Victoria (1982), as well as scores for television shows such as The Thorn Birds (1983), Hotel, Newhart, and Remington Steele.

Personal Traits

As a professional musician, Mancini was known to be modest and unpretentious. He made no time for musical elitism, claiming that he had written Moon River in a half hour and that his Italian background helped him musically. Mancini had strong feelings about the role of music in film; he saw the film score as something which facilitated the film rather than standing on its own. Less was more, in his opinion. He hoped that he could "paint pictures with his music." Mancini also felt that his success with such popular compositions as The Pink Panther theme song overshadowed some of his better work; which included the score for Experiment in Terror (1962), Wait Until Dark (1967), and White Dawn (1974).

In his last interview, Mancini claimed that music writing was his therapy, because when he wrote, he thought of nothing else. He continued conducting an average of 30 pops concerts a year and producing albums even after being diagnosed with cancer. He also continued work on the score for an upcoming stage version of Victor/Victoria. Mancini died in 1994 at the age of seventy, from complications of liver and pancreatic cancer. When he died, he left behind a legacy of popular and artistic film music.

Further Reading

Gannett News Service, June 14, 1994.

Independent, June 16, 1994; June 27, 1994.

Journal of Popular Film and Television, March 1, 1996.

Knight-Ridder/Tribune News Service, March 3, 1994.

USA Today, June 15, 1994.

AMG AllMovie Guide:

Henry Mancini

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Biography

American composer Henry Mancini was introduced to music by his Italian immigrant father, who tutored young Mancini on piano and flute. After World War II service, Mancini attended Carnegie Tech and Juilliard, played piano with the Glenn Miller Orchestra, and ultimately became a staff composer at Universal, writing snatches of music for everything from the studio's newsreels to the Abbott and Costello comedies. In 1954, he was given the opportunity to arrange the music for a film that might well have qualified as a labor of love: The Glenn Miller Story. The Academy Award nomination he received for this effort elevated Mancini's industry status, as did his long association with producer/director Blake Edwards.

When Mancini wrote the jazzy theme music for Edwards' TV series Peter Gunn and Mr. Lucky, Mancini was so proud and protective of his work that he had a clause in his contract prohibiting the networks from running spoken "plugs" for upcoming programs over the closing-credit music. Mancini went on to win Oscars for his contributions to the Blake Edwards-directed films Breakfast at Tiffany's (1961), for which he wrote "Moon River"; Days of Wine and Roses (1962); and Victor/Victoria (1982). He also composed the theme to the popular television series Newhart (1982-90). The composer managed to put 20 Grammies on his shelf before his death in 1994. Though arguably the best-known film composer of his time, Henry Mancini was still modest enough in 1989 to title his autobiography Did They Mention the Music? ~ Hal Erickson, Rovi
Filmography:

Henry Mancini

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Gale Musician Profiles:

Henry Mancini

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Composer, conductor

Henry Mancini composed some of the most popular songs ever to be showcased in film, among them "Moon River," "Days of Wine and Roses," and his theme for the Pink Panther movies. His music was heard in nearly 250 films during his long career and was nominated for 70 Grammy Awards, winning 20. He also recorded 85 record albums, whose combined sales topped 30 million copies.

Richard Severo of the New York Times called Mancini "a pioneer in a new approach to film scores," adding that his music "moved away from the heavy symphonic treatments that had been produced by composers like Alfred Newman, Max Steiner and Milos Rozsa and instead exploited jazz motifs, using smaller ensembles." Known for his use of unorthodox instrumentation and his "cool jazz" sound, Mancini employed everything from bass flutes and calliopes to untuned pianos and African instruments in order to achieve innovative musical effects. His versatility enabled him to create appropriate scores for films ranging from Orson Welles’s ominous Touch of Evil im 1958 to Blake Edwards’ sophisticated comedy Breakfast at Tiffany’s in 1961. "He [Mancini] is able to move from a light, popular idiom to a heavier, dramatic style to accommodate the demands of a particular film," noted The New Grove Dictionary of American Music.

Early Fascination with Film Music
A sickly child, Mancini was afflicted by a number of childhood diseases, including rheumatic fever when he was a young teenager. Music became an important focus for him at an early age while he was growing up in Aliquippa, Pennsylvania, largely because his father played with a local Sons of Italy band and also played flute at home. He began playing the piccolo at age eight, then took up the piano four years later. Although Mancini was more interested in sports than music, his father was adamant that he practice regularly. His fascination with film music was sparked after he heard Rudolph Kopp’s majestic score for The Crusades, which he went to see with his father in the mid 1930s. By age 12 Mancini was spending a lot of time listening to big bands in Pittsburgh’s movie theaters, and it was around then that he decided to abandon plans for a teaching career and pursue one as a film composer.

Mancini’s musical talent was confirmed by his becoming first flutist in the Pennsylvania All-State Band in 1937 at the age of 13. His growing reputation resulted in him playing in the Aliquippa High School Band before he had even entered the school. While initially showing an interest in classical music in high school, he then fell in

love with jazz, and was especially fond of Glenn Miller’s music. He began playing in local dance bands and memorized all of Miller’s arrangements. Mancini learned a great deal about arranging from Max Adkins, the conductor of the Stanley Theater house orchestra in Pittsburgh. Adkins eventually had Mancini make arrangements for his own band. "Max Adkins was to be the most important influence of my life," wrote Mancini in Did They Mention the Music?, his autobiography.

Before long Mancini was sending his own arrangements to Benny Goodman, who reacted favorably to them and gave the young musician more encouragement. After high school he continued his musical education at the Music School of Carnegie Institute of Technology in Pittsburgh. In 1942 he moved on to the Juilliard School of Music in New York City. While serving in the U.S. Army Air Corps and Infantry during World War II, Mancini met musicians who played in Glenn Miller’s Army Air Corps Band. These connections helped him after the war to become part of the Glenn Miller band, which was then led by Tex Beneke. Around this time Mancini was studying music with the composers Mario Castelnuovo-Tedesco, Ernst Krenek, and Alfred Sendry.

By the late 1940s Mancini was composing music for shows such as "The F.B.I, in Peace and War" on radio. He also wrote arrangements for the Skylarks, a group that formerly had sung for Harry James’s band. Before long he was putting together arrangements for film studios, which led him to sign a contract with the Universal-International studio in 1952. That year he made his debut as a film composer with the score for Abbott and Costello’s Lost in Alaska. For a while Mancini’s composing efforts were relegated to low-budget science-fiction thrillers such as Creature from the Black Lagoon and It Came from Outer Space. He also scored the early rock musical, Rock, Pretty Baby. In 1954 he raised his profile as composer significantly with his Oscar-nominated score for The Glenn Miller Story. John Beaufort wrote in the Christian Science Monitor that the songs adapted by Mancini in that film were "as admirably played as they are generous."

T.V. Theme Accelerated Career
A major boost to Mancini’s reputation occurred in 1958 after his contract at Universal expired, when he happened to run into Blake Edwards while heading for the barbershop at the Universal lot. During the meeting Edwards asked Mancini to score a new television mystery series he was producing. It was the beginning of a long and successful relationship between the two men, spanning over 30 years and more than 25 films. The result of their first meeting was Mancini’s hard-hitting yet restrained jazz theme for Peter Gunn, which earned him two Grammy awards, sold over a million copies, and ushered in a new style for television themes. Mancini received much fan mail, and Blake Edwards gave the theme a lot of credit for the success of the series, according to Richard Severo in the New York Times. "It was the score I wrote for the Peter Gunn TV series that was a big break for me," he told the New York Sunday News in 1964. "That use of the jazz idiom, applied dramatically to the story, put music on everybody’s mind as far as TV is concerned."

Mancini followed up his Peter Gunn success with a popular theme in 1959 for Mr. Lucky, another Edwards private-eye series. This theme featured the lush sounds of strings and organ, and earned him two more Grammy Awards for Best Arrangement and Best Performance by an Orchestra. From that point he ventured back to the big screen and had major breakthroughs with scores for such films as Breakfast at Tiffany’s in 1961, Days of Wine and Roses and Charade in 1963, and The Pink Panther in 1964. He also scored a trio of films directed by Stanley Donen in the 1960s: Charade, Arabesque, and Two for the Road. His peak may have been Breakfast at Tiffany’s, which won him five Grammy awards in its recorded version. Featured in the score was the legendary "Moon River," which was especially written for the limited vocal range of Audrey Hepburn, who sang it in the film. The Penguin Encyclopedia of Popular Musicsaid that "Moon River," which made it to number eleven on the pop charts and won an Academy Award, was "surely one of the best-loved songs of the decade."

In 1970 Mancini wrote Beaver Valley 37Suite, a piece that offered his impressions of the area where he grew up in Pennsylvania. As musical tastes veered away from the middle-of-the-road songs that were a Mancini specialty in the 1970s, he still managed to stay busy scoring films. He also made numerous appearances as a conductor and appeared on television specials. He joined forces with Blake Edwards in 1982 with his score for Victor/Victoria, which earned Mancini a fourth Oscar, this time for Best Original Song Score. He ventured back to television when he scored the music for the much-publicized miniseries, The Thorn Birds, in 1983.

Even during the height of his fame, Mancini was known for not taking his achievements for granted. "I have never trusted this thing called success; I have always been skeptical about it," he wrote in his autobiography. For many years after striking it rich he still composed on a rented piano. During his career he also took up the cause of aspiring musicians by setting up scholarships for music students at Juilliard, UCLA, and the University of Southern California. He was also very active in SHARE, an organization that helps the mentally retarded. Mancini died on June 14, 1994 of complications from pancreatic cancer in Beverly Hills, California. By that time he had written 25 new songs for the Broadway production of Victor/Victoria that was to open that fall.

Selected discography

Compositions
“Moon River,” 1961.
“Days of Wine and Roses,” 1963.
“Charade,” 1963.
“Dear Heart,” 1964.
Film scores
Touch of Evil, 1958.
Breakfast at Tiffany’s, 1961
Days of Wine and Roses, 1963.
Charade, 1964.
The Pink Panther, 1964.
Two for the Road, 1967.
Darling Lili, 1970.
Silver Streak, 1976.
Victor/Victoria, 1982
Television scores
Peter Gunn, 1958.
Mr. Lucky, 1959.
The Thorn Birds, 1983.
Writings
Sounds and Scores: A Practical Guide to Professional Orchestration, Northridge Music Corporation, 1962.

Did They Mention the Music?, (with Gene Lees), Contemporary Books, 1989.

Sources
Books
Clarke, Donald, editor, The Penguin Encyclopedia of Popular Music, Viking, 1989, p. 759.
Gammond, Peer, The Oxford Companion to Popular Music, Oxford University Press, 1991, pp. 367–368.
Hitchcock, H. Wiley, and Stanley Sadie, editors, The New Grove Dictionary of American Music, Volume 3, Macmillan, 1986, p. 166.
Katz, Ephraim, The Film Encyclopedia, Harper & Row, 1979.
Larkin, Colin, editor, The Guinness Encyclopedia of Popular Music, Volume 4, Guinness Publishing, 1995.
Mancini, Henry, with Gene Lees, Did They Mention the Music?, Contemporary Books, 1989.

Periodicals
Christian Science Monitor, February 9, 1954.
New York Sunday News, April 5, 1964.
New York Times, June 15, 1994, p. D21.
  • Genres: Easy Listening

Biography

If the recognition of one's peers is the true measure of success, then few men are as successful as composer, arranger, and conductor Henry Mancini. In a career that spanned 40 years, writing for film and television, Mancini won four Oscars and twenty Grammys, the all-time record for a pop artist. For 1961's Breakfast at Tiffany's alone, Mancini won five Grammys and two Oscars. Breakfast at Tiffany's includes the classic "Moon River" (lyrics by Johnny Mercer), arguably one of the finest pop songs of the last 50 years. At last count, there were over 1,000 recordings of it. His other notable songs include "Dear Heart," "Days of Wine and Roses" (one Oscar, two Grammys), and "Charade," the last two with lyrics by Mercer. He also had a number one record and won a Grammy for Nino Rota's "Love Theme From Romeo and Juliet." Among his other notable film scores are The Pink Panther (three Grammys), Hatari! (one Grammy), Victor/Victoria (an Oscar), Two for the Road, Wait Until Dark, and 10. His television themes include "Peter Gunn" (two Grammys, recorded by many rock artists), "Mr. Lucky" (two Grammys), "Newhart," "Remington Steele," and The Thorn Birds television mini-series.

As a child, Mancini learned how to play a variety of musical instruments and as a teenager, he became enamored with jazz and big bands. He began to write arrangements and sent a few to Benny Goodman, who wrote the teenager back, encouraging him to pursue a career in music. Mancini enrolled in the Julliard School of Music in 1942, but his studies were cut short when he served in the military during World War II. After the war, he was hired by Tex Beneke, the leader of the Glenn Miller Orchestra, as a pianist and arranger. In the late '40s, he began writing scores for record and film studios, first for a recording session by the Mel-Tones, which featured his wife Ginny O'Connor, and then the Abbot & Costello film Lost in Alaska, the first movie he scored.

Lost in Alaska led to more film scores, in particular 1954's The Glenn Miller Story and 1956's The Benny Goodman Story, which both showcased his big band roots. Soon, he was working on a large number of films and television, including Orson Welles' Touch of Evil and the TV show Peter Gunn. Mancini's scores frequently straddled the line between jazz and Hollywood dramatics, making his music both distinctive and influential.

Mancini's heyday was the early '60s, when his score for Breakfast at Tiffany's (1961) yielded the Oscar-winning hit single "Moon River," which instantly became a pop standard. The following year, he wrote the music for Days of Wine and Roses, which also won an Oscar for its title song. Throughout the next three decades, he continued to be one of the most successful film composers in the world, as well as a popular concert conductor. He continued working until his death in 1994; just prior to his demise, he was writing the score for the musical adaption of Victor/Victoria.

What kept Mancini's work fresh was his ability to write in almost any style imaginable and his successful experimentations with unusual sounds and instruments. In his 1989 memoir Did They Mention the Music?, Mancini's co-author Gene Lees wrote that "More than any other person, he Americanized film scoring, and in time even European film composers followed in his path," and that Mancini wrote scores that "contained almost as many fully developed song melodies as a Broadway musical." Had he not remained true to his first love, film scoring, Mancini would have more than likely made as large an impact on the Broadway stage as he made on the silver screen. ~ Kenneth M. Cassidy & Stephen Thomas Erlewine, Rovi
Wikipedia on Answers.com:

Henry Mancini

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Henry Mancini
Background information
Birth name Enrico Nicola Mancini
Born April 16, 1924(1924-04-16)
Cleveland, Ohio, United States
Died June 14, 1994(1994-06-14) (aged 70)
Los Angeles, California
Genres Film scores
Occupations Composer, conductor
Instruments Piano

Henry Mancini (April 16, 1924 – June 14, 1994)[1] was an American composer, conductor and arranger, best remembered for his film and television scores. He won a record number of Grammy Awards (20), plus a Grammy Lifetime Achievement Award posthumously in 1995. His best-known works include the jazz-idiom theme to The Pink Panther film series ("The Pink Panther Theme"), the Peter Gunn Theme from the television series, and back-to-back Academy Awards for the songs "Moon River" from the Blake Edwards film Breakfast at Tiffany's and "Days of Wine and Roses" from the 1962 film Days of Wine and Roses.

Contents

Early life

Mancini was born Enrico Nicola Mancini in the Little Italy neighborhood of Cleveland, Ohio, and grew up near Pittsburgh, Pennsylvania, in the steel town of West Aliquippa, Pennsylvania. His parents emigrated from the Abruzzo region of Italy. Mancini's father, Quinto, was a steelworker, who made his only child begin piccolo lessons at the age of eight.[2] When Mancini was 12 years old, he began piano lessons. Quinto and Henry played flute together in the Aliquippa Italian immigrant band, "Sons of Italy". After graduating from Aliquippa High School in 1942, Mancini attended the renowned Juilliard School of Music in New York. In 1943, after roughly one year at Juilliard, his studies were interrupted when he was drafted into the United States Army. In 1945, he participated in the liberation of a concentration camp in southern Germany.

Career

Newly discharged, Mancini entered the music industry. Entering 1946, he became a pianist and arranger for the newly re-formed Glenn Miller Orchestra, led by 'Everyman'Tex Beneke. After World War II, Mancini broadened his skills in composition, counterpoint, harmony and orchestration during studies opening with the composers Ernst Krenek and Mario Castelnuovo-Tedesco.[3]

In 1952, Mancini joined the Universal Pictures music department. During the next six years, he contributed music to over 100 movies, most notably The Creature from the Black Lagoon, It Came from Outer Space, Tarantula, This Island Earth, The Glenn Miller Story (for which he received his first Academy Award nomination), The Benny Goodman Story and Orson Welles' Touch of Evil. During this time, he also wrote some popular songs. His first hit was a single by Guy Lombardo and His Royal Canadians titled I Won't Let You Out of My Heart.

Mancini left Universal-International to work as an independent composer/arranger in 1958. Soon after, he scored the television series Peter Gunn[2] for writer/producer Blake Edwards. This was the genesis of a relationship in which Edwards and Mancini collaborated on 30 films over 35 years. Along with Alex North, Elmer Bernstein, Leith Stevens and Johnny Mandel, Henry Mancini was a pioneer of the inclusion of jazz elements in the late romantic orchestral film and TV scoring prevalent at the time.

Mancini's scores for Blake Edwards included Breakfast at Tiffany's (with the standard "Moon River")[2] and Days of Wine and Roses (with the title song, "Days of Wine and Roses"), as well as Experiment in Terror, The Pink Panther (and all of its sequels), The Great Race, The Party, and Victor Victoria. Another director with whom Mancini had a longstanding partnership was Stanley Donen (Charade, Arabesque, Two for the Road). Mancini also composed for Howard Hawks (Man's Favorite Sport?, Hatari! – which included the well-known "Baby Elephant Walk"), Martin Ritt (The Molly Maguires), Vittorio de Sica (Sunflower), Norman Jewison (Gaily, Gaily), Paul Newman (Sometimes a Great Notion, The Glass Menagerie), Stanley Kramer (Oklahoma Crude), George Roy Hill (The Great Waldo Pepper), Arthur Hiller (Silver Streak),[4] Ted Kotcheff (Who Is Killing the Great Chefs of Europe?), and others. Mancini's score for the Alfred Hitchcock film Frenzy (1972) was rejected and replaced by Ron Goodwin's work.

Mancini scored many TV movies, including The Thorn Birds and The Shadow Box. He wrote many television themes, including Mr. Lucky (starring John Vivyan and Ross Martin), NBC Mystery Movie,[5] What's Happening!!,[6] Tic Tac Dough (1990 version)[citation needed] and Once Is Not Enough. In the 1984–85 television season, four series featured original Mancini themes: Newhart, Hotel, Remington Steele, and Ripley's Believe It or Not. Mancini also composed the "Viewer Mail" theme for Late Night with David Letterman.[5] Mancini composed the theme for NBC Nightly News used beginning in 1975, and a different theme by him, titled Salute to the President was used by NBC News for its election coverage (including primaries and conventions) from 1976 to 1992. Salute to the President was only published in a school-band arrangement, although Mancini performed it frequently with symphony orchestras on his concert tours.

Songs with music by Mancini were staples of the easy-listening genre from the 60s to the 80s. Some of the artists who have recorded Mancini songs include Andy Williams, Paul Anka, Pat Boone, Anita Bryant, Jack Jones, Frank Sinatra, Perry Como, Connie Francis, Eydie Gorme, Steve Lawrence, Trini Lopez, George Maharis, Johnny Mathis, Jerry Vale, Ray Conniff, The Lennon Sisters, The Lettermen, Herb Alpert, Eddie Cano, Frank Chacksfield, Warren Covington, Percy Faith, Ferrante & Teicher, Horst Jankowski, Andre Kostelanetz, Peter Nero, Liberace, Mantovani, Tony Bennett, Julie London, Wayne Newton, Arthur Fiedler and the Boston Pops Orchestra, Peggy Lee, Al Martino, Jim Nabors, and Matt Monro. Lawrence Welk held Mancini in very high regard, and frequently featured Mancini's music on The Lawrence Welk Show (Mancini made at least one guest appearance on the show).

Mancini recorded over 90 albums, in styles ranging from big band to light classical to pop. Eight of these albums were certified gold by The Recording Industry Association of America. He had a 20 year contract with RCA Records, resulting in 60 commercial record albums that made him a household name artists of easy-listening music. Mancini's earliest recordings in the 1950s and early 1960s were of the jazz idiom; with the success of Peter Gunn, Mr. Lucky, and Breakfast at Tiffany's, Mancini shifted to primarily recording his own music in record albums and film soundtracks. (Relatively little of his music was written for recordings compared to the amount that was written for film and television.) Beginning with his 1969 hit A Time for Us (Love Theme from Romeo and Juliet) and its accompanying album A Warm Shade of Ivory, Mancini began to function more as a piano soloist and easy-listening artist primarily recording music written by other people. In this period, for two of his best-selling albums he was joined by trumpet virtuoso and Tonight Show bandleader Doc Severinsen.

Among Mancini's orchestral scores are (Lifeforce, The Great Mouse Detective, Sunflower, Tom and Jerry: The Movie, Molly Maguires, The Hawaiians), and darker themes (Experiment in Terror, The White Dawn, Wait Until Dark, The Night Visitor).

Mancini was also a concert performer, conducting over fifty engagements per year, resulting in over 600 symphony performances during his lifetime. He conducted nearly all of the leading symphonies of the world, including the London Symphony Orchestra, the Israel Philharmonic, the Boston Pops, the Los Angeles Philharmonic and the Royal Philharmonic Orchestra. One of his favorites was the Minnesota Orchestra, where he debuted the Thorn Birds Suite in June 1983. He appeared in 1966, 1980 and 1984 in command performances for the British Royal Family. He also toured several times with Johnny Mathis and also with Andy Williams, who had each sung many of Mancini's songs; Mathis and Mancini collaborated on the 1986 album The Hollywood Musicals.

Cameos

Mancini occasionally acted in cameo and voice roles.

Shortly before his death in 1994, he made a one-off cameo appearance in the first season of the sitcom series Frasier, as a call-in patient to Dr. Frasier Crane's radio show. Mancini voiced the character Al, who speaks with a melancholy drawl and hates the sound of his own voice, in the episode "Guess Who's Coming to Breakfast?"[7] Moments after Mancini's cameo ends, Frasier's radio broadcast plays "Moon River" to underscore a particularly heartfelt apology.

Mancini also had an uncredited performance as a pianist in the 1967 movie Gunn, the movie version of the series Peter Gunn, the score of which was originally composed by Mancini himself.

In the 1966 Pink Panther cartoon Pink, Plunk, Plink, the panther commandeered an orchestra and proceeded to conduct Mancini's theme for the series. At the end, the shot switched to rare live action, and Mancini was seen alone applauding in the audience.

Death and legacy

Mancini died of pancreatic cancer in Los Angeles on June 14, 1994. He was working at the time on the Broadway stage version of Victor/Victoria, which he never saw on stage. Mancini was survived by his wife of 43 years, singer Virginia "Ginny" O'Connor, with whom he had three children. They had met while both were members of the Tex Beneke orchestra, just after World War II. In 1948, Ginny was one of the founders of the Society of Singers, a non-profit organization which benefits the health and welfare of professional singers worldwide. Additionally the Society awards scholarships to students pursuing an education in the vocal arts. One of Mancini's twin daughters, Monica Mancini, is a professional singer; her sister Felice runs The Mr. Holland's Opus Foundation (MHOF). His son Christopher is a music publisher and promoter in Los Angeles.

In 1996, the Henry Mancini Institute, an academy for young music professionals, was founded by Jack Elliott in Mancini's honor, and was later under the direction of composer-conductor Patrick Williams. By the mid 2000s, however, the institute could not sustain itself and closed its doors on December 30, 2006.[citation needed] However, the American Society of Composers, Authors and Publishers (ASCAP) Foundation "Henry Mancini Music Scholarship" has been awarded annually since 2001. While still alive, Henry created a scholarship at UCLA and the bulk of his library and works are archived in the music library at UCLA.

In 2005, the Henry Mancini Arts Academy was opened as a division of the Lincoln Park Performing Arts Center. The Center is located in Midland, Pennsylvania, minutes away from Mancini's hometown of Aliquippa. The Henry Mancini Arts Academy is an evening-and-weekend performing arts program for children from pre-K to grade 12, with some classes also available for adults. The program includes dance, voice, musical theater, and instrumental lessons.

The American Film Institute ranked Mancini's score for The Pink Panther No. 20 on their list of the greatest film scores. His scores for the following films were also nominated for the list:

Awards

Mancini was nominated for an unprecedented 72 Grammys, winning 20.[8] Additionally he was nominated for 18 Academy Awards, winning four.[9] He also won a Golden Globe Award and was nominated for two Emmys.

Mancini won a total of four Oscars for his music in the course of his career. He was first nominated for an Academy Award in 1955 for his original score of The Glenn Miller Story, on which he collaborated with Joseph Gershenson. He lost out to Adolph Deutsch and Saul Chaplin's Seven Brides for Seven Brothers. In 1962, he was nominated in the Best Music, Original Song category for "Bachelor in Paradise" from the film of the same name, in collaboration with lyricist Mack David. That song did not win. However, Mancini did receive two Oscars that year: one in the same category, for the song "Moon River" (shared with lyricist Johnny Mercer), and one for "Best Scoring of a Dramatic or Comedy Picture" for Breakfast at Tiffany's. The following year, he and Mercer took another Best Original Song award for "Days of Wine and Roses",[2] another eponymous theme song. His next eleven nominations went for naught, but he finally garnered one last statuette working with lyricist Leslie Bricusse on the score for Victor Victoria, which won the Academy Award for "Best Original Song Score and Its Adaptation or Best Adaptation Score". All three of the films for which he won were directed by Blake Edwards. His score for Victor/Victoria was adapted for the 1995 Broadway musical of the same name.

On April 13, 2004, the United States Postal Service honored Mancini with a 37 cent commemorative stamp. The stamp shows Mancini conducting with a list of some of his most famous movies and TV show themes in the background and was painted by artist Victor Stabin.[10] The stamp is Scott catalog number 3839.

Discography

Hit singles

Year Single Peak chart positions
US US
AC
US Country UK[1]
1960 "Mr. Lucky" 21
1961 "Theme from the Great Imposter" 90
"Moon River" 11 1 44
1962 "Theme from Hatari" 95
1963 "Days of Wine and Roses" 33 10
"Banzai Pipeline" 93
"Charade" 36 15
1964 "The Pink Panther Theme" 31 10
"A Shot in the Dark" 97
"Dear Heart" 77 14
"How Soon" 10
1965 "The Sweetheart Tree" 117 23
"Moment to Moment" 27
1966 "Hawaii (Main Theme)" 6
1967 "Two For the Road" 17
"Wait Until Dark" 4
1968 "Norma La De Guadalajara" 21
"A Man, a Horse and a Gun" 36
1969 "Love Theme from Romeo and Juliet" 1 1
"Moonlight Sonata" 87 15
"There Isn't Enough to Go Around" 39
1970 "Theme from Z (Life Goes On)" 115 17
"Darling Lili" 26
1971 "Love Story" 13 2
"Theme from Cade's County" 14 42
1972 "Theme from the Mancini Generation" 38
"All His Children" (with Charley Pride) 117 2
1973 "Oklahoma Crude" 38
1974 "Hangin' Out"(with the Mouldy Seven) 21
1975 "Once Is Not Enough" 45
1976 "African Symphony" 40
"Slow Hot Wind" 38
1977 "Theme from Charlie's Angels"" 45 22
1980 "Ravel's Bolero" 101
1984 "The Thornbirds Theme" 23
"—" denotes a title that did not chart, or was not released in that territory.

Albums

  • The Versatile Henry Mancini, Liberty LRP 3121
  • The Mancini Touch, RCA Victor LSP 2101
  • The Blues & the Beat, RCA Victor LSP-2147
  • Mr. Lucky Goes Latin, RCA Victor LSP-2360
  • Our Man in Hollywood, RCA Victor LSP-2604
  • Uniquely Mancini, RCA Victor LSP-2692
  • The Best of Mancini, RCA Victor LSP-2693
  • Mancini Plays Mancini, RCA Camden CAS-2158
  • Everybody's Favorite, RCA Camden CXS-9034
  • Concert Sound of Henry Mancini, RCA Victor LSP-2897
  • Dear Heart and Other Songs, RCA Victor LSP-2990
  • Theme Scene, RCA Victor LSP-3052
  • Debut Conducting the Philadelphia Orchestra, RCA Victor LSP-3106
  • The Best of Vol. 3, RCA Victor LSP-3347
  • The Latin Sound of Henry Mancini, RCA Victor LSP-3356
  • A Merry Mancini Christmas, RCA Victor LSP-3612
  • Pure Gold, RCA Victor LSP-3667
  • Mancini Country, RCA Victor LSP-3668
  • Mancini '67, RCA Victor LSP-3694
  • Music of Hawaii, RCA Victor LSP-3713
  • Brass on Ivory, RCA Victor LSP-3756
  • A Warm Shade of Ivory, RCA Victor LSP-3757
  • Big Latin Band, RCA Victor LSP-4049
  • Six Hours Past Sunset, RCA Victor LSP-4239
  • Theme music from Z & Other Film Music, RCA Victor LSP-4350
  • Big Screen-Little Screen, RCA Victor LSP-4630
  • This Is Henry Mancini, RCA Victor VPS6029
  • Music from the TV Series "The Mancini Generation", RCA Victor LSP-4689
  • The Academy Award Songs, RCA Victor LSP-6013
  • Brass, Ivory & Strings (with Doc Severinsen), RCA APL1-0098
  • The Theme Scene, RCA AQLI-3052
  • Country Gentleman, RCA APD1-0270 (Quadraphonic)
  • Hangin' Out, RCA CPL1-0672
  • Symphonic Soul, RCA APD1-1025 (Quadraphonic)
  • Mancini's Angels, RCA CPL1-2290
  • (with Johnny Mathis), The Hollywood Musicals, Columbia FC 40372
  • The Pink Panther Meets Speedy Gonzales, Koch Schwann CD
  • The Legendary Henry Mancini, BMG Australia 3 CD set

Soundtracks

Many of Mancini's "soundtracks" are actually "Music from ...", which allowed him to arrange the music to be more accessible and to release records without the expense of paying studio orchestra fees.<citation needed>

Filmography

Bibliography

  • Mancini, Henry: Sounds And Scores: a practical guide to professional orchestration (Book on orchestration of popular music, 1962)
  • Mancini, Henry: Did they mention the music? (Autobiography, with Gene Lees, 1989)
  • Thomas, Tony: Music For The Movies (1973)
  • Thomas, Tony: Film Score (1979)
  • Larson, Randall: 'Henry Mancini: On Scoring Lifeforce and Santa Claus' (interview)(in: CinemaScore, #15, 1987)
  • Büdinger, Matthias: 'An interview with Henry Mancini' (in: Soundtrack, vol. 7, No. 26, 1988)
  • Büdinger, Matthias: 'Henry Mancini' (in: Soundtrack, vol. 13, No. 50, 1994)
  • Büdinger, Matthias: 'Henry Mancini remembered' (in: Soundtrack, vol. 13, No. 51)
  • Büdinger, Matthias: 'Whistling Away The Dark' In: Film Score Monthly, # 45, p. 7
  • Büdinger, Matthias: 'Henry Mancini 1924–1994' In: Film Score Monthly, # 46/47, p. 5
  • Büdinger, Matthias: 'Feeling Fancy Free' (in: Film Score Monthly, vol. 10, No. 2)
  • Brown, Royal S.: Overtones and undertones – reading film music (1994)

References

  1. ^ a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 345. ISBN 1-904994-10-5. 
  2. ^ a b c d Show 23 – Smack Dab in the Middle on Route 66. [Part 2], The Music Men. [Part 1] : UNT Digital Library
  3. ^ Chapter 5 Page 51, "Did They Mention the Music". (Autobiography with Gene Lees)
  4. ^ Appendix, pg 239 "Did They Mention the Music". (Autobiography with Gene Lees)
  5. ^ a b Appendix, pg 240. "Did They Mention the Music". (Autobiography with Gene Lees)
  6. ^ "IMDB". http://www.imdb.com/title/tt0074071/fullcredits. Retrieved July 8, 2007. 
  7. ^ "Henry Mancini's cameo on Frasier". http://www.destinyland.org/Secret-Henry-Mancini-Cameo-on-Frasier.htm. Retrieved September 16, 2008. 
  8. ^ Appendix, pg 235. "Did They Mention the Music" (Autobiography with Gene Lees)
  9. ^ Appendix, pg 236. "Did They Mention the Music" (Autobiography with Gene Lees)
  10. ^ Stabin, Victor (5). "Daedal Doodle Y". Matter Press 25 (25): 1. http://matterpress.com/journal/2012/02/01/daedal-doodle-y/. Retrieved 5 February 2012. 

External links



 
 
Related topics:
Henry Mancini and Friends (1980 Music Film)
Monica Mancini: On Record (1999 Film)
Music from Mr. Lucky (1960 Album by Henry Mancini)

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