MUSIC BY ERICH WOLFGANG KORNGOLD.

Composer Erich Wolfgang Korngold was probably one of the first serious music composers to become involved with the writing of film scores, by this I mean he had already had a career in composing music for the concert hall before starting to write for Hollywood movies and went back to the composition of so called serious music after he ceased to work on motion pictures. Korngold it is said is the Father of film music, well yes I suppose this is true but let us not forget Max Steiner who was also responsible for creating the craft of the actual scoring of motion pictures or at least that is my own personal opinion. There have been many re-recordings of the film music of Korngold released the majority of which have been true to the original compositions, most notable is the series of classic film music on the RCA label with the National Philharmonic orchestra, under the direction of Charles Gerhardt and produced by George Korngold, plus of course there have been recordings of Korngold’s original scores issued in recent years as well as recordings by THE MOSCOW SYMPHONY ORCHESTRA under the baton of William Stromberg Let us however not forget the recording that was originally released in 1962 on Warner bros records (ws1438) and was the first authorised recording by the Korngold estate, this was later re issued onto compact disc on Stanyan records (stz 117) which was conducted by Lionel Newman and performed by The Warner Brothers Studio Orchestra.

This recording featured music from seven motion pictures, KINGS ROW, ANTHONY ADVERSE, ELIZABETH AND ESSEX,THE SEA HAWK, THE PRINCE AND THE PAUPER,THE CONSTANT NYMPH and last but by no means least THE ADVENTURES OF ROBIN HOOD. Arguably these were the most prominent titles of the composers career, I say arguably because it omitted his first official film score CAPTAIN BLOOD and the excellent ESCAPE ME NEVER but nevertheless a worthy collection of music and one that once it begins will I know evoke all the memories of the movies in question. The compact disc is in no way lavishly illustrated in fact it is devoid of any stills or photos apart from one small black and white picture on the back cover of the composer, but the information in the liner notes by Bill Collins and Rod Mckuen is interesting and informative. The CD opens with four cues from KINGS ROW, released in 1942 it starred Ronald Regan, Robert Cummings, Ann Sheridan and Betty Field, directed by Sam Wood the movie was a success at the box office in the United States and enjoyed mild success also outside of America. Korngold’s glittering and imposing trumpet fanfares that open the main title are in a word stunning and send shivers down ones spine, these majestic and regal sounding flourishes set the scene perfectly for what is to follow in Korngold’s effecting score. The composer being regal sounding and also infusing a subtle and emotional feel to proceedings.

The four cues included are MAIN TITLES, THE CHILDREN, RANDY AND DRAKE and GRANDMOTHER. Section two is from the score to the 1936 motion picture ANTHONY ADVERSE, directed by Mervyn LeRoy, this was a lavish production that was said to have over 120 sets. A romantic and historical drama, which starred Frederic March as Anthony and Olivia de Haviland as the love of his life Angela and Claude Rains in the role of the malicious Don Luis. Korngold’s luscious score gave the production greater depth and certainly added emotion to the storyline. Korngold was awarded his first Oscar for his labours. The selections included here are, ANTHONY IS BORN,THE LOVE SCENE and ANTHONY COMES HOME. THE PRIVATE LIVES OF ELIZABETH AND ESSEX is next in the running order, released in 1939, the movie directed by Michael Curtiz a director whom Korngold had collaborated with before a year previous on THE ADVENTURES OF ROBIN HOOD, just two selections are included form this score, MAIN TITLE AND ESSEX’S VICTORY MARCH and LOVE SCENE AND FINALE.

It starred Bette Davies as Elizabeth the first and is still hailed as one of her best performances, Laurence Olivier was originally scheduled to play Essex but it was Errol Flynn that eventually took the role much to Davies disapproval, but saying this Flynn’s portrayal of Essex is not an awful one and for the most part is convincing and entertaining. The film had a strong supporting cast in the forms of Olivia de Haviland, Vincent Price and Donald Crisp. Korngold’s triumphant sounding score was regal and highly impressive, lush strings are augmented by brass and Royal sounding flourishes from the brass section are further enhanced and bolstered by the composers use of strings. For the next section we move into the 1940’s Directed by Michael Curtiz THE SEA HAWK was once again a vehicle for the enigmatic Errol Flynn, a swashbuckling romp that still inspires and influences pirate movies of today this rip roaring adventure cried out for an even bigger and rousing soundtrack, a score that would underline, enhance and support the action on screen as well as being subtle when needed. Korngold’s opening flourishes have also inspired and influenced composers such as John Williams on his STAR WARS soundtracks and have been mimicked in numerous pirate and adventure movies, ie THE GOONIES and to a degree CUTTHROAT ISLAND and the first PIRATES OF THE CARIBBEAN movie. Korngold’s music complimented and heightened the dramatic sea battles, punctuated the somewhat cheeky manner of Flynn’s character and ingratiated the lavish sets, making them even more sumptuous and convincing, in fact the film and the score in my opinion have never been surpassed.

Elizabeth the first was portrayed by Flora Robson and the films love interest or heroine of the piece is played by Brenda Marshall. It is a film that one never tires of and a score that spends a lot of time in the CD player. Two sections are representing the score on this recording, MAIN TITLE and THE REUNION. Next is THE PRINCE AND THE PAUPER, based upon the novel by Mark Twain this 1937 release was directed by Michael Curtiz, again having Errol Flynn in the principal role. Korngold once again produced a suitably rousing and majestic work, alas just one short cue included on this recording, THE BOYS GO TO PLAY. Tracks 13 and 14 are taken from Korngold’s score to THE CONSTANT NYMPH, directed by Edmund Goulding in 1943, MAIN TITLE and FAREWELL are short but most certainly sweet representations of Korngold’s soundtrack, the latter being poignant and subtle and containing a sense of melancholy, which is purveyed by strings and restrained woodwinds. A beautifully produced movie THE CONSTANT NYMPH s a touching and heartrending drama for which Korngold composed one of his best scores. The final section on the compilation is from THE ADVENTURES OF ROBIN HOOD, what can I say, A CLASSIC in every way, a charismatic performance from Errol Flynn as Robin Hood, with Olivia de Haviland delightfully portraying Lady Marion, the movie had three directors, Michael Curtiz took charge of the studio action, whilst the outdoor scenes were handled by William Keighley and B. Reeves Eason.

Korngold won his second Oscar for his dramatic and thrilling music and it is probably true to say that THE ADVENTURES OF ROBIN HOOD is the score that we most associate with Erich Wolfgang Korngold. This is a wonderful compilation and a fitting tribute not to just the artistry and talent of Korngold but also to the actors, directors and producers that were responsible for bringing to the screen these glittering examples of Hollywood at its golden best. Seek it out, it is an essential addition to any film music collection.

THE WAR LORD.

When you think about it composer Jerome Moross was something of an odd man out in the scheme of things and amongst the numerous film music composers that worked at around the same period as he did. I often think of him as the forgotten name of Hollywood film music simply because he composed some of the most robust and familiar film scores that have endured the test of time, but it seems is always omitted from discussions about movie music maestros or at least brought up within the conversation as something of an after thought. This is I think unfair as Moross was a talented composer, arranger and conductor. He was overshadowed by many of the composers of the golden age who had already established themselves as giants of movie scores, composers such as Alfred Newman for example, Steiner and Korngold etc. Moross also seemed to be overlooked because of up and coming talents at the time such as John Barry, Jerry Goldsmith et al. We all of course remember Moross,s rousing soundtrack for the sprawling western epic THE BIG COUNTRY and his beautiful scores for THE PROUD REBEL, THE CARDINAL and RACHEL RACHEL to name but a few, but THE WAR LORD is a score and indeed a movie that just seems to slip under the radar. I first purchased the soundtrack on the long playing record on the Brunswick label many years ago and later added the compact disc on Varese and later the Tsunami edition to my collection. THE WAR LORD for me is primarily a score that contains a number of action cues, but it is also a romantically laced work that contains emotive and highly haunting compositions, the composer providing the Franklin J Schaffner picture with some of the most enriching and well written pieces of film music in many a year. I realise that the compact disc on Varese ha been around a while now, but how many purchased it I wonder? Released in November 1965 THE WAR LORD was based on a play entitled THE LOVERS and tells the story of Chrysagon a conquering Norman War Lord(Charlton Heston) who is sent to defend a coastal village that has been raided many times, whilst there he falls in love with one of the village girls Bronwyn (Rosemary Forsyth), but she is promised in marriage to Marc one of the men of the village, the Norman knight is bitterly disappointed but by chance becomes aware of a tradition that would allow him to take her on the eve of her wedding. He does just that and when she does not return to the village the following morning the villagers become restless and accuse him of kidnapping her. Jerome Moross composed a wonderfully lyrical score for the movie and produced themes that accompanied not only set action scenarios but he underlined the deep love that the Norman Lord feels for the girl and captures perfectly in his music the frustration that is felt and experienced by all within the story.

Moross was originally given more than two months to write the score but this period was shortened to five weeks and Moross struggled with the score which resulted in veteran composer Hans J Salter being brought in to write approximately fifteen minutes of music, most notably THE WAR LORD IN BATTLE which is one of the scores most rousing cues. The score is simply drenched in rich thematic material whether it be the work of Moross or Salter the score is simply beautiful, mesmerizing in certain areas, stirring in others, but essentially this is quality film music, poetically emotive, lavishly romantic and fearsomely vibrant. It is a score that enhances and augments without being intrusive, but at the same time one is aware of its presence because of its shining beauty and brilliance, with its highly emotional musical passages and also its subdued but effective tone poems and its joyful and haunting musical persona. Tracks such as THE DRUID WEDDING, LOVE THEME, THE ASCENT TO THE TOWER AND FRUSTRATED LOVE and the delightful NOCTURNAL PROCESSION are all cues that will have you reaching for the repeat button. If you have per chance missed this one, I implore you to find it and love it as I do.