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Did They Mention the Music?: The Autobiography of Henry Mancini

3.71 of 5 stars 3.71 · rating details · 14 ratings · 4 reviews
Best known for the "dead-ant" theme to the Pink Panther films, Henry Mancini also composed the music to Peter Gunn, Breakfast at Tiffany's, Orson Welles' Touch of Evil, and the Academy Award winning soundtracks to Victor/Victoria and The Days of Wine and Roses. In a career that lasted over thirty years, Mancini amassed twenty Grammy awards and more nominations than any oth ...more
Paperback , 312 pages
Published December 17th 2001 by Cooper Square Publishers (first published 1989)
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Randall Wallace
This book has a few of the textual arranging stories I long for: like treating an Autoharp as a Zither and picking just the notes you wanted with a guitar pick as Hank does in Experiment in Terror. He plays the melody of Moon River for the first time to Johnny Mercer who says, “who’s gonna record a waltz?” – Mercer’s surprisingly clueless comment reminds me of Sean Connery who turned down the film role of Gandalf. Hank’s advice: when writing cues that fade out on screen, save your cues longer wi ...more
Gry
I have been an avid fan of Mr. Mancini's work for many years, and I was looking forward to reading his autobiography. I wasn't disappointed!

While co-written with jazz author Gene Lees, Henry's voice comes shining through as readers gain insight into the life of this remarkable man: his humble roots, his quirky sense of humor, his respect for those who worked for him, and the music that made him famous.

From a musical standpoint, this book is incredible! I strongly recommend having a lot of his mu
...more
John Kennedy
Too much family information, not enough information about his music, although there is a good chapter on how music is scored.
Stephen Guerra
I knew about Mancini's legacy and most of the amazing music he wrote, but reading about his career in his own words gave me a new appreciation of what he accomplished. Truly an American treasure.
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“With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.” 2 likes
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