Shockingly enough, YouTube, normally reliable for flagrant copyright infringement, was no help in finding this scene online, and nobody else seems to have uploaded it. (A DVD is available, but I'm cheap; you can watch the trailer here.) But you can at least listen to a portion of the concerto on the website of its composer, Ken Lauber. Elmer Bernstein scored the movie, but only after David Raskin was fired from the project, which left the concerto uncomposed at the time of filming. Lauber, a 23-year-old assistant in United Artists' publishing division, got the nod. As he puts it:
The dialogue went something like this...I'll go out on a limb and say that this is the best 3-day, 7-minute avant-garde piano concerto ever written. It's quite entertaining, and, at least musically, a pretty knowing and affectionate pastiche/parody of "modern music" as it was in the 60's (visually, I remember the orchestra members being portrayed as rather eye-rollingly jaded about the piece).
Mike Stewart [Lauber's boss at UA]: "Hey kid. Can you write a 7 min. piano concerto and record it in three days? We need it for playback for a shoot with the New York Philharmonic at Carnegie Hall."
KL: "How much do I get paid and do I get credit?"
Mike Stewart: "You're already getting paid so forget the money. If they use it, I'll see what I can do to get you credit at the end of the film somewhere."
Lauber has gone on to have the kind of career I would probably enjoy, never quite breaking through to wide recognition, but keeping busy on an unusually wide range of projects as a composer, arranger, orchestrator, producer, etc. (He also just started a blog.) Any CV that includes studies with Gene Krupa and Vincent Persichetti, arranging backup choirs for Lieber and Stoller, and scoring everything from avant-garde independent films to TV mini-series to Playboy videos is my kind of résumé.