Word: raposo
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Dates: during 1970-1979
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...that it started out to be something else: a musical intended as a TV special. When the producers switched to animated film, they made the dubious decision to use the conventions of Broadway staging. Hence solo turns and production numbers are dutifully reproduced cartoon-style. The songs by Joe Raposo, composer of TV's Sesame Street, are deft, pleasant and numerous (16 in all). Songs may be the heart of a musical; but when they start and stop this often, the show goes into what might be called suspended animation...
Fear in D Minor. Many movie composers-Schifrin, Joe Raposo, Billy Goldenberg and Jerry Goldsmith, for example-have classical music backgrounds. Goldsmith majored in music at U.S.C.; Goldenberg studied piano with his father. Schifrin's father was concertmaster of the Buenos Aires Philharmonic Orchestra. Raposo studied in Paris with the legendary teacher Nadia Boulanger. "You have five more years of counterpoint," warned Mme. Boulanger when he announced his impending departure. She worried about her pupil's attraction to popular music: "What will happen to you is the same thing that happened to Gershwin." Replied Raposo: "I certainly hope...
Most musicians prefer scoring movies to writing for television. Not so Joe Raposo, 36, whose credits include ballads for Frank Sinatra, The Carpenters and Jose Feliciano, as well as the theme for Sesame Street. At ten, Raposo already showed the facility and ingenuity that are essential for a commercial composer. A piano student, he invented a two-handed speed method for orchestration. Each finger represents a symphonic choir. Notes played by the pinky and fourth fingers of the right hand are assigned to violins and flutes, the third and second fingers represent the clarinets and oboes, the thumbs are both...
...composer like Raposo, fees are fairly standard. A film brings from $20,000 to $25,000; a two-hour TV movie is worth $5,000, while a 90-minute TV feature earns the composer...
...graces: the infallible sense of just how much is enough, the crafty building to one climactic moment per song, the right way with the right word, and the impeccable taste in material (notably in choosing Stephen Sondheim's Send in the Clowns and four lilting ballads by Joe Raposo...