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Leo Arnaud(1904-1991)

  • Music Department
  • Composer
  • Additional Crew
IMDbProStarmeterSee rank
Leo Arnaud was born on 24 July 1904 in Lyon, France. He was a composer, known for Seven Brides for Seven Brothers (1954), Balls of Fury (2007) and Miracle (2004). He was married to Faye Brooks. He died on 26 April 1991 in Los Angeles, California, USA.
BornJuly 24, 1904
DiedApril 26, 1991(86)
BornJuly 24, 1904
DiedApril 26, 1991(86)
IMDbProStarmeterSee rank
Add photos, demo reels
  • Nominated for 1 Oscar
    • 1 nomination total

Known for

Jane Powell and Howard Keel in Seven Brides for Seven Brothers (1954)
Seven Brides for Seven Brothers
7.3
  • Music Department
  • 1954
Balls of Fury (2007)
Balls of Fury
5.4
  • Soundtrack
  • 2007
Eddie Cahill in Miracle (2004)
Miracle
7.5
  • Soundtrack
  • 2004
The Unsinkable Molly Brown (1964)
The Unsinkable Molly Brown
6.6
  • Music Department
  • 1964

Credits

IMDbPro

Music Department



  • Richard Dreyfuss and Amy Irving in The Competition (1980)
    The Competition
    6.6
    • music coach (uncredited)
    • 1980
  • Voyage of the Damned (1976)
    Voyage of the Damned
    6.4
    • orchestrator (uncredited)
    • 1976
  • The F.B.I. (1965)
    The F.B.I.
    7.5
    TV Series
    • composer: stock music (uncredited)
    • 1971
  • Gregory Peck, Telly Savalas, Omar Sharif, Ted Cassidy, Julie Newmar, Camilla Sparv, and Keenan Wynn in Mackenna's Gold (1969)
    Mackenna's Gold
    6.7
    • orchestrator (uncredited)
    • 1969
  • The Extraordinary Seaman (1969)
    The Extraordinary Seaman
    3.5
    • orchestrator (uncredited)
    • 1969
  • The Fixer (1968)
    The Fixer
    6.7
    • orchestrator (uncredited)
    • 1968
  • Robert Mitchum and Dean Martin in 5 Card Stud (1968)
    5 Card Stud
    6.5
    • orchestrator (uncredited)
    • 1968
  • Terence Stamp in Blue (1968)
    Blue
    6.1
    • orchestrator
    • 1968
  • James Garner, Toshirō Mifune, Eva Marie Saint, Antonio Sabato, Françoise Hardy, and Yves Montand in Grand Prix (1966)
    Grand Prix
    7.2
    • musician: drums (uncredited)
    • 1966
  • Claudia Cardinale, Lee Marvin, and Robert Ryan in The Professionals (1966)
    The Professionals
    7.3
    • orchestrator (uncredited)
    • 1966
  • Is Paris Burning? (1966)
    Is Paris Burning?
    6.8
    • orchestrator (uncredited)
    • 1966
  • Hollywood My Home Town (1965)
    Hollywood My Home Town
    7.6
    • orchestrator
    • 1965
  • Geraldine Chaplin, Julie Christie, and Omar Sharif in Doctor Zhivago (1965)
    Doctor Zhivago
    7.9
    • orchestrator (uncredited)
    • 1965
  • The Man from Button Willow (1965)
    The Man from Button Willow
    5.4
    • orchestrator
    • 1965
  • The Unsinkable Molly Brown (1964)
    The Unsinkable Molly Brown
    6.6
    • orchestrator
    • 1964

Composer



  • The F.B.I. (1965)
    The F.B.I.
    7.5
    TV Series
    • Composer
    • 1965
  • The Unsinkable Molly Brown (1964)
    The Unsinkable Molly Brown
    6.6
    • Composer (uncredited)
    • 1964
  • Doris Day, Stephen Boyd, Jimmy Durante, and Martha Raye in Billy Rose's Jumbo (1962)
    Billy Rose's Jumbo
    6.1
    • Composer (uncredited)
    • 1962
  • Day of Fear (1957)
    Day of Fear
    • Composer
    • 1957
  • Pier Angeli, Yvonne De Carlo, and Ricardo Montalban in Sombrero (1953)
    Sombrero
    5.3
    • Composer (uncredited)
    • 1953
  • Ricardo Montalban, Xavier Cugat, Betty Garrett, Red Skelton, Esther Williams, and Keenan Wynn in Neptune's Daughter (1949)
    Neptune's Daughter
    6.3
    • Composer (uncredited)
    • 1949
  • Roy Rogers, Dale Evans, and Trigger in Apache Rose (1947)
    Apache Rose
    5.8
    • Composer (uncredited)
    • 1947
  • Gene Autry and Champion in Trail to San Antone (1947)
    Trail to San Antone
    6.3
    • Composer (uncredited)
    • 1947
  • Ann Miller in The Thrill of Brazil (1946)
    The Thrill of Brazil
    5.9
    • Composer (uncredited)
    • 1946
  • Grandfather's Follies
    Short
    • Composer (uncredited)
    • 1944
  • Judy Garland and Mickey Rooney in Babes on Broadway (1941)
    Babes on Broadway
    6.6
    • Composer (uncredited)
    • 1941
  • Arthur Lake, Larry Simms, and Penny Singleton in Blondie Goes Latin (1941)
    Blondie Goes Latin
    6.6
    • Composer (uncredited)
    • 1941
  • Judy Garland, Mickey Rooney, and Paul Whiteman in Strike Up the Band (1940)
    Strike Up the Band
    6.8
    • Composer (uncredited)
    • 1940
  • Robert Taylor and Eleanor Powell in Broadway Melody of 1938 (1937)
    Broadway Melody of 1938
    6.7
    • Composer (uncredited)
    • 1937

Additional Crew



  • Richard Dreyfuss and Amy Irving in The Competition (1980)
    The Competition
    6.6
    • conducting coach
    • 1980
  • Stars and Stripes Forever (1952)
    Stars and Stripes Forever
    7.1
    • conducting instructor: Clifton Webb (uncredited)
    • 1952

Personal details

  • Alternative names
    • Leon Arnaud
  • Born
    • July 24, 1904
    • Lyon, France
  • Died
    • April 26, 1991
    • Los Angeles, California, USA
  • Spouse
    • Faye Brooks
  • Other works
    Wrote the trumpet fanfare used for the Olympic theme - Bugler's Dream

Did you know

  • Trivia
    He composed the theme music which was used for the Olympics, "Olympic Fanfare." In 1958, conductor Felix Slatkin commissioned him to compose a piece for Slatkin's 1958 album, "Charge!" As a result of this commission, he composed "The Charge Suite," which includes "Bugler's Dream." In 1968, representatives from ABC heard "Bugler's Dream," and they wanted to use this piece for the ABC TV coverage of the Olympics. The composer and music publisher agreed, and ABC - and later - NBC network broadcasts of the Olympics have used the piece ever since. Consequently, this piece has been known by its original name ("Bugler's Dream") and its nickname ("Olympic Fanfare").
  • Quotes
    [To André Previn, on being paid by the page to write music for Hollywood movies]: Listen, mon vieux. When you are orchestrating for a true musical illiterate, then it is perfectly okay to take advantage of that situation here. We don't get any credit, so the idea is to make as much money as possible. When I am asked by one of our innocents to ghost-write some chase music for western posses or gangland car rides, the music has to be very fast, eh? This means bubbidy, bubbidy, bubbidy - two seconds of music is already a page. Whereas a more normal 4/4 or 12/8 bar would only take up a quarter of a page with the same notes. Mind you, this must only be done with those employers of ours who can hardly read music. With the good ones it would be dishonest.

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