PICTURES AT AN EXHIBITION: THE PAINTINGS OF BOB PEAK
Concert produced by Abu Dhabi Festival & Robert Townson Productions
Conducted by Leonard Slatkin
Performed by the Los Angeles Film Orchestra
Composed by Michael Abels, Jeff Beal, Marco Beltrami, Bill Conti, Mychael Danna, Ihab Darwish, Don Davis, Harry Gregson-Williams, Maria Newman and Marc Shaiman
Special vocal performance by Azam Ali
Special organ performance by Joanne Pearce Martin
June 14, 2024
Walt Disney Concert Hall
Los Angeles, USA
PART 1: A NEW-FOUND APPRECIATION FOR THE ART OF BOB PEAK
It’s times like this that I wish I’d been born in the ‘60s.
As a child of the ‘80s, all of the music consumed in my household was on CD or cassette format. They all belonged to my parents and included albums from artists like Lionel Richie, The Bee Gees, Air Supply, and so on – there wasn’t a single soundtrack in the house.
By the early ‘90s I had found a deep love of film and was only just starting to discover the joys of film music. Unfortunately, none of the films coming out during that period had striking poster art. And none of the soundtrack CDs I bought had anything other than the key poster art on their covers, which to be honest was boring and uninspiring.
If I’d been around in the ‘60s, I would have been surrounded by incredible poster art which would have allowed my imagination to soar! I would have also lived through an incredibly exciting time in film music when masterpieces where being churned out on a regular basis from such luminaries as Jerry Goldsmith, John Barry, Elmer Bernstein, John Williams, Ennio Morricone and a whole load more.
So my new-found appreciation for the masterful art of Bob Peak is thanks solely to last night’s triumphant concert at Walt Disney Concert Hall, an event that was produced and hosted by the redoubtable Robert Townson.
PART 2: SOME BACKGROUND ON THE EVENT
PICTURES AT AN EXHIBITION: THE PAINTINGS OF BOB PEAK was the brainchild of uber-record producer and soundtrack fanatic Robert Townson.
Based on an idea and dream he had over 25 years ago, the concert was an attempt to bring the 10-movement concept behind Mussorgsky’s “Pictures at an Exhibition” to a modern audience using selected pieces of Bob Peak’s non-film art for inspiration.
To compose the music for each of the ten movements, Townson selected ten composers of exceptional talent – you need only look at a sampling of their resumes to realize how diverse their output is and how talented they are.
With such an incredible pool of talent and the opportunity to be at such a special and momentous event, flying from Tokyo to LA for the concert was a no-brainer.
PART 3: A PRE-CONCERT TALK
There was a special pre-concert talk event one hour before the concert began.
Hosted by prolific writer and esteemed journalist Jon Burlingame, it was a fascinating chat and chance to learn more about Bob Peak and the brilliance of his art through the thoughts and recollections of his two sons, Matthew and Thomas, as well as famed film music agent Richard Kraft.
Kraft passionately explained how his love for film music and film connected to the poster art of Bob Peak through their masterful ability to take you to another world. Just by looking at Peak’s iconic painting for STAR TREK: THE MOTION PICTURE to the right of the interview stage while playing Jerry Goldsmith’s tremendous score in my head, it was easy to see why.
PART 4: CONCERT REPORT – THE FIRST HALF
The concert started with Townson gracing the stage to wild applause.
After some opening pleasantries, he then explained the significance and appeal of Peak’s work while selected paintings were projected on screen.
As someone unfamiliar with Peak’s work outside film, I was immediately taken aback by the sheer breadth and quality of his artwork. I also began to think that no movie or product could ever live up to the worlds or emotions captured in his paintings.
Townson then explained the genesis of PICTURES AT AN EXHIBITION: THE PAINTINGS OF BOB PEAK and that we were in for a fabulous night under the baton of the renowned and distinguished conductor Leonard Slatkin. To end the night, Townson proudly and excitedly proclaimed that we would be getting “a Bill Conti finale” – I’m sure I wasn’t the only one in the audience secretly pumping my fist behind the chair in front of me!
The first half of the concert focused on the paintings that Peak had done for film, and these were accompanied by title music or overtures from their corresponding films.
Preceding each piece was a photo of the film’s composer, followed by shots of early drafts or scribblings of the film’s final art. Each music piece then ended with the final version of the poster art.
Truth be told, moving images (i.e. actual video scenes from the film) were simply not needed for us to understand what story the music was telling us because Peak’s artwork did that perfectly.
The “Overture” from WEST SIDE STORY was the first piece of the night and it instantly impressed with its recognizable themes. It was a thrilling performance and a great way to get the night started.
“Ride of the Valkyries” from APOCALYPSE NOW came next and it was truly fabulous! My first time hearing it live, I truly felt as if I was in those choppers flying over Vietnam.
After the crowd-pleasing overtures from MY FAIR LADY and CAMELOT, a “surprise” piece was performed on the pipe organ by the LA Philharmonic’s keyboardist, Joanne Pearce Martin. It was Bach’s “Toccata and Fugue in D Minor,” and it was given a deliciously dark and ominous performance by Martin who turned and cheerfully waved to the audience when the piece ended.
What can be said about Jerry Goldsmith’s “The Enterprise” from STAR TREK: THE MOTION PICTURE? Under Slatkin’s baton it was purely sublime! It played as all of the Peak-painted posters from the series were projected on screen. It would have been even more perfect if some of James Horner’s masterful scores from STAR TREK 2 and 3 were included.
Bruce Broughton’s rousing main theme from SILVERADO came next and received hearty applause from the audience. Other cowboy-themed art was shown (including THE MISSOURI BREAKS) during the piece, and I was again reminded about how unique and striking Peak’s art was and is today.
The first half ended with the best performance I’ve ever heard of John Williams’ iconic “Main Title” from SUPERMAN: THE MOVIE. It was right on the money in terms of pacing and power, and coupled with Peak’s stunning imagery, made us all think we could fly like Superman.
PART 5: CONCERT REPORT – THE SECOND HALF
It was now time for the world premiere of PICTURES AT AN EXHIBITION: THE PAINTINGS OF BOB PEAK.
Kicking off the 1st movement was distinguished composer and Maria Newman. Her piece, “Rhapsody for a Golden Age: 1937 Academy Players Directory,” was a fine musical tribute to the early titans of Hollywood. It skillfully evoked the Golden Age and spotlighted some incredible piano work by Robert Thies.
Mychael Danna’s piece, “Mother Teresa of Calcutta” came next, a deeply emotive piece that was dark at times, but ultimately uplifting. The female vocalist, Azam Ali, gave the piece enormous weight with her impassioned vocals.
The painting “Two Girls with Sparklers” was the inspiration for Harry Gregson-Williams’ spirited piece. It was one of the more filmic pieces that night, and it expertly captured the feeling of two children playing with carefree abandon.
Prior to this concert I had never heard of Ihab Darwish, so it was a huge and most pleasant surprise when his piece, “Curva Grande, Fastest Corners in Car Racing” was performed. It is no exaggeration to say that I was blown away by his piece – for me, it perfectly captured the essence of car racing from the thrill and danger of speed to the trepidation and elation of victory. The barrage of percussion driving things forward was a particular highlight.
Jeff Beal’s “New York World’s Fair 1964-65” followed, and it skillfully created the feel of a technology-driven yet uncertain future. For an event that happened between 1964-65, the music was written in a way that made it feel like it was ahead of its time.
Plucked strings opened Marco Beltrami’s fun piece, “The Spirit of Sport: Jack Nicklaus Special Olympics 15thAnniversary.” Described in the program notes as “mimicking the idea of kids playing together,” it did just that with a highly catchy theme.
Peak’s “Unbound: Jesse Owens, 1936 Berlin Olympics” inspired Michael Abels to come up with a forward-moving and wonderfully victorious piece. Through the music you could really feel Owens’ strides and his heroism on the track.
Nobody knew what to expect for Marc Shaiman’s turn, but we should have known – as soon as he walked out on stage, he quickly brought the house down with his fun and witty song tribute to Audrey Hepburn. He even pranced across the stage during his song! It is truly impossible not to love Shaiman and his mischievous charm.
With the striking painting of two eagles projected on screen, Don Davis unleashed his orchestral prowess with a soaring and thunderous piece. It was a deeply impressive piece that gave the brass section a real workout.
The final piece for the evening came from the legendary Bill Conti. “The Great Bridge: 100th Anniversary of the Brooklyn Bridge” was written in that inimitable Conti style – lean lines for tuba (like in the “End Titles” from F.I.S.T.), and that strong, instantly recognizable bed of strings. The piece built up to a tremendous “Bill Conti finale” to signify the opening of the Brooklyn Bridge – I, along with many others there, was in true Conti fanboy heaven!
PART 6: AWARDS & IT ALL LEADS TO JERRY
Following that spectacular Conti finale, all of the night’s artists were welcomed to the stage to receive the applause of the highly appreciative audience.
Her Excellency Huda Alkhamis-Kanoo, co-producer of the event and Founder and Artistic Director of Abu Dhabi Festival, then appeared on stage to thank everyone and talk about the importance of the continued commitment to arts and culture.
The Peak family were then called to the stage to receive an award, after which a surprise lifetime achievement award was bestowed upon Leonard Slatkin, who was visibly moved by the surprise announcement.
As a fitting end to the concert, one final painting of Jerry Goldsmith was projected on the screen: the one and only piece Townson had commissioned Bob Peak to paint for his “Suites and Themes” release way back in the 1988.
PART 7: MEETING THE COMPOSERS
I was most looking forward to seeing Bill Conti taking his bows on stage and perhaps being able to shake his hand after the performance, but alas it was not to be. For reasons unknown he was unable to attend the concert.
But I was at least fortunate enough to briefly meet and shake hands with most of the featured composers before the concert began.
I was actually quite surprised they weren’t being hounded by autograph hunters and crazy fans, because in my book, these guys are the real Hollywood celebrities!
PART 8: ANOTHER REVIEW
Check out Jon Broxton’s excellent review here.
PART 9: OVER TO YOU
Did you also go to this concert? How did you like it?
And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.