Music
Robert Cobert scored the music for the original television movies. Gil Mellé wrote the music for the TV series, beginning with the theme that begins with Kolchak whistling in the opening credits. Mellé was hired and the theme was written in 20 minutes, just before the opening credits were shot.
Mellé left the series after the fourth episode, saying it was becoming too light-hearted. Composer Jerry Fielding took over scoring music for the remaining series, augmented by one score each from Greg McRitchie (best known for his collaborations with Fielding, James Horner) and Luchi De Jesus). Music Supervisor Hal Mooney re-used much of Mellé's score in various later episodes (most notably The Spanish Moss Murders which has no credited score composer) along with material from the other composers.
Two soundtrack albums have been produced. One released in 2000 by Varèse Sarabande features two suites of Cobert's music from the TV movies. The other, a Universal Television soundtrack released in 2002, features Mellé's theme and scores written for the first three episodes (The Ripper, U.F.O. and Vampire).
The Mellé theme also appears on the TVT Records' Television's Greatest Hits Volume 5. However, all licensed soundtrack recordings of the theme use an otherwise rare original recording alternate take of the theme. Initially identifiable by the altered opening whistle, an off-key electronic note is seemingly randomly introduced towards the end, but when synchronized with picture it corresponds to a specific visual. Mellé was known for his innovative use of electronic orchestration (which was used throughout the series), however the producers chose not to include this stylistic element in his main title for broadcast, instead opting for a more conventional all-orchestral sound.
Read more about this topic: Kolchak: The Night Stalker
Famous quotes containing the word music:
“Poetry is either something that lives like fire inside you—like music to the musician or Marxism to the Communist—or else it is nothing, an empty formalized bore around which pedants can endlessly drone their notes and explanations.”
—F. Scott Fitzgerald (1896–1940)
“See where my Love sits in the beds of spices,
Beset all round with camphor, myrrh, and roses,
And interlaced with curious devices
Which her apart from all the world incloses!
There doth she tune her lute for her delight,
And with sweet music makes the ground to move,
Whilst I, poor I, do sit in heavy plight,
Wailing alone my unrespected love;”
—Bartholomew Griffin (d. 1602)
“The music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.”
—W.E.B. (William Edward Burghardt)