Los Angeles-based pianist Leonard Pennario (born in Buffalo, NY, in 1924) used this lush descriptive piece when he provided the piano playing in a 1956 MGM film called Julie, written and directed by Andrew L. Stone. It must have fit right in with the oceanside-settings of the San Francisco-based thriller, whose music (with the exception of this piano solo and the title song) was composed by Leith Stevens. The actual subject of the five-minute tone picture is the cliff walk at Newport, RI. The thickly luscious piano scoring makes use of whirling and surging arpeggio patterns and sparkling chord figurations of the sort that have traditionally been used to depict ocean waves breaking on rocks. The rich, late-Romantic harmonies emerge from the same artistic background as most of the foreign-born composers who established the "Hollywood sound" in the 1930s -- the post-Straussian tonal style centered on Vienna. The result is a piece that, regardless of its actual origins, sounds like a specially composed "rhapsody" for a movie score. The MGM film represented popular singing star Doris Day -- now one of the least appreciated great film stars of the two decades following World War II -- obviously seeking to flex her acting chops and expand her range from the spunky musical heroines. In this film, she plays a young widow who is newly remarried to a brooding, emotional concert pianist (Louis Jordan). Then she learns facts that suggest that her new husband is insanely jealous of her -- so much so that he might have been the one who killed her first husband. She can't convince the San Francisco police that her fears are grounded in reality, and so she has to take matters into her own hands. Seen in context of her career, Julie must have been a great training exercise for Day's next film, Charles Bennett's story The Man Who Knew Too Much, in the second of its two Alfred Hitchcock filmings. Latter-day reviewers have praised the first part of the film for its surprisingly up-to-date take on abusive, manipulative, control-freak spouses. They are less accepting of the use of the old cliché -- and it was already a cliché by 1956 -- of a musician/villain who must be a weirdo because he's an artist and besides, he plays emotionally unsettled, turbulent music like this.(AllMusic)Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.Original audio:https://www.youtube.com/watch?v=7UElEWl5DbM(Performance by: Leonard Pennario)Original sheet music: http://en.scorser.com/I/Sheet+music/300185842.html