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At the Huntington, the New Hollywood String Quartet recalls legendary studio musicians

BBG News

In the later part of the 1930s, when four prominent musicians from film studios established the Hollywood String Quartet, many found its name to be somewhat contradictory. Devoted followers of string quartets often looked down on movie soundtracks, while studio executives were known for their disdain towards classical music and long-haired musicians.

As a passionate film enthusiast and music lover, I’ve always been captivated by the story of the remarkable American string quartet that emerged from Tinseltown. For two grueling years, these talented musicians toiled away in rehearsals before disbanding due to the unavoidable outbreak of war. Yet, in 1947, two of its founding members – Felix Slatkin, the concertmaster of the 20th Century Fox Studio Orchestra, and his wife, Eleanor Aller, principal cellist of the Warner Bros. Studio Orchestra – worked tirelessly to reunite this extraordinary ensemble. It’s a paradox or not, but Hollywood birthed the first notable American string quartet, a testament to the symbiotic relationship between the silver screen and the power of music.

During the 1950s, this group released a sequence of groundbreaking albums on Capitol Records, interpreting late Beethoven string quartets and various other pieces. Simultaneously, they collaborated with Frank Sinatra on his poignant hit, “Close to You.” Everything they produced was unique; each recording is considered a timeless classic.

Review

Empty seats, no Dudamel: L.A. Phil opens its Hollywood Bowl season on somber notes

As a music enthusiast, I’m thrilled to share that I’ll be part of an exciting journey this season at the Hollywood Bowl, orchestrated by the L.A. Phil. The adventure kicks off with a Russian-themed extravaganza, where Thomas Sondergard will conduct and Kirill Gerstein will captivate us with his piano prowess, performing masterpieces from Rachmaninoff and Prokofiev. Can’t wait to experience the symphonic magic!

The tradition of the Hollywood String Quartet is a tribute to Hollywood’s genre-defying spirit and string quartet artistry. Today, ensembles such as the exceptional Lyris Quartet can be heard in modern blockbusters, with the New Hollywood String Quartet being one of them. This group is commemorating its 25th anniversary by dedicating its annual four-day summer festival to paying homage to its inspiration.

The quartet’s festival kicked off on Thursday evening and continues until Sunday, taking place at Huntington’s Rothenberg Hall in San Marino. The performances draw from the earlier group’s old recordings. Introducing these concerts is Slatkin and Aller’s eldest son, who used to fall asleep as a child while his parents and their colleagues rehearsed in his living room after dinner.

In my upbringing, I owe a great deal to my parents who, during the era of movie music’s golden age, nurtured my insatiable love for music. They were not only enthusiasts of these timeless film scores but also supporters of contemporary classical compositions and the classics of yore. Back then, Los Angeles didn’t have an opera company, so they likened the intricate film scores to modern operas, fueling my passion for music.

Almost every person can recall their parents’ voices in a movie or another. For instance, consider the film “Jaws,” marking its 50th anniversary. It’s Allegro’s cello that stirs memories of John Williams’ iconic, shark-terrifying melody.

It’s quite possible that you’ve come across Tereza Stanislav (violin), Rafael Rishik (violin), Robert Brophy (viola), and Andrew Shulman (cello) in various films. In fact, IMDb lists Robert Brophy as being involved in a whopping 522 soundtracks alone! You may even have heard one or more of these musicians performing with the Los Angeles Chamber Orchestra, Los Angeles Opera Orchestra, or Los Angeles Philharmonic.

The new Hollywood’s lineup might not cover the entire spectrum of the original quartet’s repertoire, but it does offer an assortment of lesser-known pieces like Borodin’s Second String Quartet. Performances and the thrilling recording of this Borodin quartet were likely noticed by L.A. director Edwin Lester. In 1953, Lester developed and premiered the musical “Kismet” for the Los Angeles Civic Light Opera, which incorporated elements from the Borodin quartet. This production eventually became a hit on Broadway.

The shift in times has led to a more intense and direct approach from the contemporary Hollywood filmmakers, contrasting with the elegant and whimsical style of Slatkin’s team, who were all graduates from Russian schools. The brief “Italian Serenade” by Hugo Wolf, initially performed on this program, exhibited a rich, Italian-inspired sound, while on an old 1950s recording, it seemed more lively and playful.

The significant piece was César Franck’s Piano Quintet, as Slatkin pointed out. He mentioned that the recording, initially launched in 1955, didn’t gain much popularity, possibly due to the cover art’s grim depiction of a composer who wasn’t widely recognized. Moreover, Slatkin added that his parents weren’t particularly fond of their performance. However, he also stated that they were naturally inclined to find flaws in things.

The recording, where his uncle Victor Aller, an elegant pianist, plays, carries a slow and dominant tone. Jean-Yves Thibaudet was an ideal guest, fitting in every aspect, for the grand performance at the Huntington. He is a French pianist known for his affinity towards German music, making him well-suited for the Belgian French composer’s score that draws inspiration from Wagner.

Thibaudet, a long-time Los Angeles resident and a versatile performer with a wide range, is prominently showcased on the latest soundtrack recording of Dario Marianelli’s “Pride & Prejudice.” This recording has taken the top spots on both Billboard’s classical and classical crossover charts. Thibaudet and Slatkin share a history that spans decades, having collaborated frequently and formed such a close bond that the conductor even turned pages for him during their performance of the Franck piece.

Entertainment & Arts

The Los Angeles County Museum of Art unveiled its latest structure not through exhibiting artworks, but through music, mirroring the approach taken back in 1965. This evening was filled with the soulful strains of jazz, marking the beginning of a fresh chapter for LACMA.

Watching 80-year-old Slatkin perform brought a powerful feeling of historical significance, echoing the musical freedom that his parents symbolized in LA. As I drove home on Thursday, I felt compelled to trace the path Albert Einstein would have taken after playing his violin, which was just a short bike ride away during his Caltech years – the same time Slatkin’s parents were making their mark in the music industry. Just like them, Einstein performed with the L.A. Philharmonic (although he was invited not for his violin skills but because he was Einstein).

In Franck’s quintet, neither The New Hollywood nor Thibaudet strove to recreate the past. Rather, they demonstrated to Hollywood an exceptional way to reimagine a remake, through their grandeur and passionate intensity.

Later this month, Leonard Slatkin, who used to be the music director for the L.A. Phil at the Hollywood Bowl, will be coming back to the very place where his parents first met in 1935 during a Hollywood Bowl Symphony competition. On July 24, he will lead a concert featuring a modern composition by the upcoming generation of Slatkins. Interestingly, his son, Daniel, is known for composing music for films and television.

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2025-07-12 20:31

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