Hollywood Studio Magazine (July 1971)

He admits that one can hardly hang stupidity on a youngster for not mastering an oboe, piccolo, bassoon or cello, when he reads that a high school dropout with a electric guitar and a single phrase that can be repeated 100 times under the guise of “lyrics” can make a million dollars with one recording session. All of us have read,* on the contrary, stories of the tireless practice endured by great musicians. Pianist-composer Paderewski spent fourteen hours every day, during his formative years, perfecting fundementals. Scharf is practical about his opinions. “There are economic factors, too,” he says. “So low has become the demand for accomplished musicians in orchestras, on concert, and even in motion picture scoring groups, that many dedicated musicians have moved to Europe, where good music is still reasonably popular.” Scharf also decries the decline of training opportunities for those boys and girls who are willing to serve long apprenticeships, in order to follow a gratifying profession. “There are fewer places today than ever before where beginners can learn, surrounded by great technicians,” he explains. “Every motion picture studio used to maintain large recording orchestras and there was a constant need for fresh talent. Fortunate novices could play alongside proficient musicians who took delight in advising and demonstrating.” With little room for those in apprenticeship, a young musician is forced to learn with his instructor and in his own home. “What happens too often nowadays is that when a serious young musician does get an opportunity, he finds himself woefully unable to cope with the challenge,” Scharf says. “And economics have become so great that the conductor of an orchestra cannot take the time to help a newcomer compete with the experienced old timers around him.” Scharf has scored successes in television, as well as in motion pictures. He has composed, arranged and conducted for more TV documentaries than any other musician. He likes this type of production because he feels that a documentary gives a musician a chance to be creative. Most television of the “story” type places restrictions on music. The composer arranged, composed and conducted for the new David Wolper United Artists film, “Willie Wonks and the Chocolate Factory,” and prior to that did the National Geographic special, “Journey to the High Artie.” Other TV fare of his includes “Tragedy.of the Red Salmon,” “Great Mojave Desert,” “Ethippia, the Hidden Empire,” and “George Plimpton at the Movies.” “Great Mojave Desert,” “Ethiopia, the Hidden Empire,” and “George Plimpton at the Movies.” musical, “Maybe that’s Your Problem,” which will be presented in London next month. All this is part of his' constant efforts to keep from being “type cast,” a hazard which he says is more acute for musicians than for actors or directors. Walter Scharf music has been heard all over the TV dial — on “Mission: Impossible”, “The Undersea World of Jacques Cousteau,” “Mr Magoo’s Christmas Carol,” “The Dangerous Christmas of Red Riding Hood” and “Holiday in the Holy Land.” He’ had Emmy nominations as well as Oscars. Christmas Carol,” “The Dangerous Christmas of Red Riding Hood” and “Holiday in the Holy Land.” He’s had Emmy nominations as well as Oscars. Of unusual interest is his working with “superstars.” He was with Danny Kaye on “Hans Christian Anderson” and with Frank Sinatra on Then there was “Funny Girl”, with Barbra Streisand, on which Scharf worked for 17 months, in daily contact with Miss Streisand for nine months, What about all that temperament? Says Scharf, In some quarters of Hollywood, temperament is a dirty word. I don’t go along. If, for example, temperament means having strong enough convictions about one’s own creative instincts, to be willing to battle for them; if it means having a large enough artistic ego and stubborn integrity to stand up against the carpers and the critical sharp-shooters who always are lying in wait for the big talent, then I am all for temperament. I have never seen a single major talent who didn’t have that kind of temperament. Barbra and I developed a healthy and lasting respect for each other’s contributions to the job we set out to do. It wasn’t always easy or peaceful. But the results, I’m sure, justified the effort. Scharf is sure that the secret to working with superstars and their super-egos, is to learn how to communicate with them-on their own terms. “The mistake so many people make is to expect extraordinary talents to behave like next-door neighbors. A large part of what makes them the great talents is that they definitely are not like other people. They are more sensitive to many aspects of the world, more protective of their own constantly-flattered and constantly-battered egos. They are more extraverted, as a whole, and very special human beings.” Scharf is no stranger to serious music, as witness the successful “Israel Suite” and a full length opera in collaboration with Norman Corwin titled “The Plot to Overthrow Christmas. He does not, of course, spend all his living hours composing and arranging. He is a . rabid fan at sporting events. “Composing can be a lonely life unless you get away from your four walls and go out among people.” * * * Need real estate? Well stake it out for you. Office building or acreage. Retail stores or apartment units. Industrial facilities. Homes. Whatever you need or want, we can help. Because nobody knows more about Valley real estate than we do. And nobody offers a broader range of real estate services than we do. Brokerage. Investment man¬ agement. Financing. Appraisals. Insurance. We offer them all. And we can provide the most up-to-date investment service. We work with computers to analyze properties and forecast returns for your own income tax bracket. Call us. 788-9850 Coldwell, Banker AND COMPANY 9