Signature-Artists_-Frankenstein-Michael-Shapiro-Score-Presentation-
THE CREATION
Michael Shapiro was commissioned in 2001 by The Chappaqua Orchestra’s Boris Koutzen Memorial Fund to write the movie score for the classic film Frankenstein (1931) directed by James Whale and starring Colin Clive and Boris Karloff. The world premiere of the work with live orchestra and film occurred in October 2002 at the Film Society of Lincoln Center’s Jacob Burns Film Center in New York and since its premiere has received over 60 productions worldwide.
Unlike The Bride of Frankenstein (1935), with its lush score by Franz Waxman, the original Frankenstein was produced without a movie score. Many critics, such as Leonard Maltin, have remarked that Frankenstein is badly in need of music. Mr. Shapiro’s 70-minute score is written to be played under the dialogue of the film. For modern day moviegoers, Mr. Shapiro’s haunting music adds significantly to the emotional impact of the film.
“The premiere here at the Film Center…was a great success…particularly because of the relatively simple set-up required for a most impressive outcome.”
~Steve Apkon, Executive Director, Jacob Burns Film Center
Creative new music programming for:
- Young Audiences and Families
- Halloween
- Film Buffs
- Performance and Master Classes for Music, Composition, or Film Students
- Benefit Events
- Collaborations
70 minutes simultaneous to movie
Music under dialogue
Instrumentation (four versions): full orchestra, chamber orchestra, wind ensemble, and opera
Reviews of Michael Shapiro’s Frankenstein score are overwhelmingly positive, praising its effectiveness in adding emotional depth and narrative clarity to the original 1931 film by highlighting the mirroring relationship between the doctor and the monster. Critics describe the music as haunting, tender, and sinister, effectively contrasting the dark themes associated with the doctor and the gentle music for the sympathetic monster. The score, particularly the operatic version with its use of the Latin Requiem Mass, is noted for its power in the film’s tragic moments, evoking strong emotional responses from audiences.
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Dual Musical Themes:
Shapiro’s music deliberately distinguishes between the menacing, Herrmann-esque themes for the doctor and the haunting, tender themes for the monster.
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Emotional Resonance:
Reviewers highlight the score’s ability to evoke the pathos of the creature and the tragedy of the story, making the film more moving and impactful.
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Operatic Version:
The addition of a libretto, using the Latin Requiem Mass, is particularly acclaimed. The singers’ voices, according to one reviewer, “tear your heart out” during the monster’s death, elevating the production to a profound operatic experience.
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Narrative Enhancement:
The music is described as essential for filling the gaps in the otherwise silent film, providing emotional cues and making scenes feel less “creaky” and more cohesive.
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Versatility:
The score has been adapted into multiple versions, including those for chamber orchestra, full symphony orchestra, and a wind ensemble, demonstrating its adaptability and wide appeal.
Audience and Critical Reception
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Praise for Sympathy:
Many reviews emphasize how the music gives the monster a sympathetic quality, accentuating the “soul” that Boris Karloff’s performance brought to the character.
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Masterful Composition:
The work is considered a significant accomplishment, with Shapiro’s “rare melodic gift” noted by The New York Times.
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Enduring Performance:The score has been performed over 75 times worldwide by organizations such as the Los Angeles Opera and the International Festival of Bergen, Norway.