CLASSIC SCORES OF MY~TERYAND HORROR BY FRANK SU1WNER 4' HANS 1, SALTER

SLOVAK RADIO SYMP+IONY ORCHES7RA (BRA~ISLAVA) WILLIAM 7. STROMBERCi Hans J. Salter 1896-1 994 .Frank Slcinner 1897-1 968 UNIVERSAL'S CLASSIC SCORES OF MYSTERY AND HORROR Reconstructed and orchestrated by John Morgan except 'Man Made Monster' (25-26)' orchestrated by William T. Stromberg The Ghost of Frankenstein Halls 3. Salter (1942) Universal signature (Jinznzy McHrcglz) Main Title Blowing up the Castle Freeing the Monster Renewed Life Frankenstein's Castle Arrival at Vasaria [81 Erik's Dilemma Baron Frankenstein's Diary The Monster's Trial Elsa's Discovery Dr. Kettering's Death Ygor's Scheme Baron Frankenstein's Advice A New Brain Searching the Castle Monster Kidnaps Child / Monster's Desire Brain Transfer Mob Psychology Monster Talks Death of the Unholy Three End Cast Son of Dracula Hnizs J. Snlfer (1943) Main Title Blaclc Friday Hails Salter; Cl~arlesHenderson, Cltm'les Previn (1940) Hypnosis Man Made Monster Hails J. Snlter (1941) Corlzy Electro-Biology Sherloclc Holmes and the Voice of Terror Frailk Skilzner (1942) Main Title Limehouse Christopher Doclts Voice of Terror The Spider No Time to Lose March of Hate End Title Two years before his death, celebrated Chicago newspaper columnist Mike Royko, in a sentimental gesture aimed at his seven-year-old son, merrily decided one weekend to mount a mini-festival at home highlighting the old Universal horror pictures he had enjoyed so much during his own youthful days. In a Clricogo Tribrrrre column headlined, "Horrors of the Past are G-rated Today," Royko wrote of renting videos of Universal's Drncrrlo, Frnrrker~steirrand Frorrkerrstehr Meets tlre ll'o(fA4or1, then each night viewing one of the classic horror films alongside his son. Predictably, Royko's son found the old movies anemic at best, sleep-inducing at worst. Of the three films, only Frorlkerrsteirr A4eets tlre ll'o!f Morr registered any impact on the boy, largely because of the film's troubled lycanthrope. For all the critical carpings about actor Lon Chaney Jr.'s limitations as an actor, the pathos he displayed as were\volf Larry Talbot apparently proved enough to command the youth's attention and sympathy - at least, Inore so than the over-the-top histrionics of Colin Clive's mad scientist or downright Transylvanian weirdness of Bela Lugosi's vampire count. Insightful film scholars may well recognize another reason for the contemporary impact of a film such as Frarrkerrsteirr Meets tlre lVolfMnrr- a problematic production in its time and today regarded as a camp horror romp alongside more exalted film such as D~.nc~rlrrand Frrrrrkerrsteirr, Whatever it may have lacked in terms of innovation and inspiration, Frorrkerrsteirr A4eets tlre W'o!f Ator1 boasted, for much of its mnning time, a richly atmospheric music score that held many of the film's seemingly disparate elements together and smoothed out the picture in terms of pacing and mood. Indeed, if ever a genre needed mt~sicalassistance in creating a sufficient amount of atmosphere, it was the horror film of the 1930s and 1940s. Todav.<, earlv Uni\~ersal milestones such as Dmcrrlo and even Frnrlkerrsteirr (both 193 1 ) occasionally come off as stilted, partially because they lack full music scores. Even subsequent films such as lVere~volf" ofLor~cIorr " (1935) and Drocrrln's Dnrrghter (1936) pale partially because of their tepid music. Only Gennan composer Franz Waxman showed producers and directors where they must go in future 11orror endeavors, furnishing during his all-too-brief tenure at Universal a wizardly, tmly landmark score for director James Whale's triumphant sequel The Bride of Frc~rrker~steirr(1935). By the time Universal's second wave of horror films came crashing down on American audiences, beginning with Rowland V. Lee's So11 of Frorrker~steht,filmed in 1938 and released early the following year, Waxman had moved on to other scoring assignments at MGM and then Warner Brothers. However, the example he set was not forgotten. During the period immediately leading up to and including World War II, Hans J. Salter and Frank Skinner quite unintentionally became noted for their scoring of Universal's outlandish monster movies. Admittedly, a great number of other talents were pivotal during those years: outspoken, imaginative, Dresden-born screenwriter Curt Siodmak, a one-time newspaperman who in 1942 consented to script Fror~kerlsteirlMeets the Wo/f Moll only because he had payments to make on a new automobile and Universal executives knew they had him over a barrel; make-up wizard Jack Pierce, whose own curse was that Universal deemed Lon Chaney Jr. as the man to portray all monsters, meaning Pierce had to spend hours fashioning for the cameras a man he reportedly found disagreeable; director of photography George Robinson, whose work on the far spookier Spanish version of Dlnclrlo way hack in 1931 prepared him for all sorts of monstrous mayhem during the 1940s: B-movie director and former teacher and comic Erle C. Kenton, a one-time Mack Sennett trouper whom critics today delight in denigrating as a director, even while finding an endless multitude of novel, one-of-a- kind touches in his horror films; and, finally, actor Lon Chaney Jr., who despite a horrible penchant for drunkenness on the set (particularly while in the monster make-up on The Gl~ostof Fror~ker~stei~~)somehow managed to portray Dracula, the Frankenstein Monster, the Wolf Man and a centuries-old mummy named Kharis before running out of luck at Universal. But of all these creative forces, none proved as consistently clucial to the success of the Universal monster movies as Hans J. Salter and Frank Skinner. It is nearly impossible to overstate the importance of Universal's music department during this period, especially upon the arrival of Hans Salter. The studio's busy staff composers produced a visceral style of music that rival studios sought to match, usually without success. Characterized by a formal mastery and deep sense of tradition going back to the German masters, yet imbued with a carefree verve and restless originality that stamped it as utterly American, this style of horror music allowed literature's most fanlous vampire nobleman to haunt a spooky Southern plantation in Sorr ofDrrrc~rlrr (1943), made Hollywood's favorite undying monster mindful of global conquest in Tlre Ghost of Frnrlkerlsteir~(1942) and introduced troubled lycanthrope Larry Talbot to various mad doctors, misfits and monsters while seeking out a lasting and merciful death in such films as Frnrrkerrsteirr Meets the Il'olfA4~1rr (1943) and Holrse of Frnrlkerlsteirl (1944). Even Curt Siodmak, who had a hand in many of these films (and who has never handed out praise readily when it came to his Universal peers), proved quick to recognize what Inany film historians have missed - the music. But then Siodn~akhas always shown a keen awareness of the power of music in film, to the extent he brilliantly suggested the use of a Bach chaconne in Max Steiner's heaven-storming score The Benst IVitIr Five Firlgers (1946) and conjured up tlie lyrics for the wine festival song Fnro-Lo Fnrv-Li in the thick of Frnrlkerlsteirr Meets the Il'olfMurr. In an interview on occasion of this album, the feisty, ever-opinionated 97-year-old author, screenwriter and director remembered Universal's music department - and, again, particularly Salter - as pivotal in both the immediate and continuing popularity of tlie studio's hol~orfilms. "He was extraordinarily good," Siodmak said of Salter. "Fifty percent of the success of those movies is in the music. Take the music out and see what you have. Of course, I'm talking about goodcomposing, and I think Hans Salter fit in perfectly ~14thsuch composers as Alfred Newnian and (Erich Wolfgang) Korngold." Author and film historian Tony Thomas was another lonely voice in the wilderness when it came to heaping praise on Universal's perennially overlooked staff composers. Before modern-day re-recordings of Salter and Skinner's niassive film scores were attempted, Thomas steadfastly kept Salter's arork before the public, producing long- playing records of the few brittle film soundtracks that survived, including Tlle Ghost of Frorlkerlsteir~. "The mere listing of his titles indicates not only that Salter turned out an incredible volume of work but that Salter and his confrere Frank Skinner were the principal authors in a whole sub-genre of film scoring," Thomas wrote later. "Between them they did Universal's Frankenstein, Dracula, Wolf Man, Invisible Man, Sherlock Holmes and sundry other ghoulish items. This is not to say that Salter and Skinner made this kind of score their exclusive province. While writing music for these pictures, they also scored every other kind of film prodoced by Universal - westerns, romances, comedies, dramas and musicals." Indeed, when film historian Preston Neal Jones conducted his revealing, much-quoted interview with Salter in the late 1970s and asked the mild-mannered composer to list his favorite film scores, Salter reeled off Belid of the River- (a western starring Jimmy Stewart), T/rtrrrder-on the Hill (a mystery starring Claudette Colbert) and Tlre Mcrg~r(ficelrtDoll (a particular favorite for Salter starring Ginger Rogers as socialite Dolley Madison) -but not one horror film. What's more, he indicated his late friend and colleague Frank Skinner felt the same way. "There were some pictures he was fond of," Salter told Jones, "but the Frankenstein pictures were not among them." Few musical collaborators in film history have proven as intriguing as Salter and Skinner. Illinois-born Skinner, with his easy-going, down-home, Midwestern sensibilities and dance-band background, might have seemed an odd choice to team with Vienna-born Salter, whose experience included study under prominent (and controversial) composers Alban Berg and Franz Schreker, directing operettas and stage productions (including A Miclsro~~rrrer-Night's Dr-en111with incidental music by Mendelssohn) and working for Berlin's famed UFA studios before Hitler's nightmarish visions sent him packing for other horizons. And yet, while this pairing might initially seem as bizarre as the duo featured in Fr-rnike~uteinMeets the IVo'oIfMni~,Salter and Skinner enjoyed one of the happiest partnerships in all film music, partially due to their very real friendship. Right up until his death in 1994 (at the age of 98), Salter spoke fondly of Skinner, routinely referring to him as the epitome of all that was good in America. "Frank Skinner was a real pal," Salter told Jones in an interview published in Ciriefnrrmstique in 1978, ten years after Skinner's death. "He was such a wonderful fellow, so dependable. I don't think they make them anymore like they did in those days, because Frank was, in many ways, a self-taught man. When I came to Universal in 1937, he was actually just learning the trade, so to speak. He had been a dance arranger before that. He came out of a dance band himself. I think he was a trombone player. How he adapted himself, with this limited knowledge, to write music for films, and to see how he grew with every assignment, was wonderful to watch." What's more, Salter showed no reluctance in tapping his friend's talent on occasions when deadlines loomed. "He would do some sequences in pictures when I couldn't get through in time," Salter recalled. "Frank Skinner was always there to the rescue, like the Marines." Likely, Salter downplayed his own influence on Skinner, beginning with their first significant collaboration in 1938 on the alternately creepy and rousing score So11 of Frar~ker~steirt,when they raced to meet a mad deadline for the film's 1939 release, not even daring to leave the studio for two or three days. Skinner would write out cues and sequences while Salter napped, then Salter would awake to orchestrate and arrange while Skinner napped. The team's success on this picture was such that they were given all manner of monstrosities to score thereafter, culminating with The IVo'olfMar~(1941), one of the most memorable horror scores ever. By this time, Salter had moved far beyond mere orchestration and arranging duties and was handling more and more of the actual composing as is evidenced by such films as The Irli~isibleMarl Retfrrr~s(1940), Block Friday (1940) and Mml Made Morrster (1941). When, shortly after The Wolf Marl, Universal began shooting The Ghost of Franker~steir~,46-year-old Salter was finally permitted to offer his own take on Universal's most famous monster. He did not disappoint, either, furnishing a remarkable score resounding with lumbering power, sinister intensity and eruptive climaxes - in effect, setting an invigorating tone for all future Universal monster movies that reached a pinnacle with his colorful masterpiece in the genre, Holrse of Frankeruteirl. For years afterward, those who knew and cherished Universal's horror scores always showed amazement upon meeting Salter for the first time. "Since he is by nature a quiet, modest and very gentle gentleman, it is a source of amusement to himself and all those who know him that he should be identified with movies about mayhem and fright," Salter champion Tony Thomas wrote later. "It has, of course, nothing to do with personality and everything to do with skill. Salter's imagination and his gifts in instrumentation have enabled him to sense which tone colors, groupings and devices are most suitable to underscore suspense, dread and all the strange doings of the weird and wonderful creatures who occupy the nooks and crannies of the horror regions." Shot in the days immediately following the attack on Pearl Harbor, Tl~eGhost of Frcrrrkerrsteir~typifies many of the Universal horror fil~iisproduced during America's involvement in World War 11. While lacking the craggy poetry of Frnrtkerlsteir~,the wit and wicked fantasy of Tl~eBride ofFror~kerlsteir~ and the bizarre sets and creepy atmosphere of So11 ofFrorlker~steir~(which, incidentally, saw the Frankenstein Monster booted into a bubbling sulfur pit in the finale), director Erle C. Kenton's production of The Gltost of Frorlker~steinnevertheless has much in its favor, even as it marks the series' sharp descent into programmer status. Slickly produced with an excellent cast that included reserved Sir Cedric Hardwicke as yet another scientist in the Frankenstein line and Bela Logosi as the crippled, broken-necked, grave-robbing shepherd Ygor, outcast colnpanioli of the Frankenstein Monster (Chaney), the film has a madcap urgency about it, bolstered by intriguing characters and near-hectic pacing. All of this props up a plot full of darkly droll potential as Ygor and the recently revived Monster, fleeing the countryside of all their earlier calamities, wind up in another village, taking refuge in the castle-sanitarium of yet another Dr. Frankenstein. The film's storyline ultimately hinges on a brain transplant, with almost everyone involved having a different idea of whose brain ought to replace the Monster's own long-damaged brain - suggesting, \\thatever else, the influence of studio scriptwriter Curt Siodmak, for \vhom brain-swappitig proved a favorite device in this sort of fare, beginning with Universal's Block Frirlq and later including Holrse of Fronker~steirr.(During his wildly ricocheting 1999 interview with Marco Polo, Siodmak - casually referring to the preponderance of hacks and nitwits in Hollywood - remarked at one point: "I have only two friends -my wife and my brain!" For the record, however, Siodmak is credited with neither story nor script for Tl~eGlrost of Frnrrkerrstein, though the same year saw first publication of his classic novel Dorro~~orr's Brcrirr.) In any case, at the end of Tlle Ghost ofFrrrrlkerrsteirr, Ygor's own crafty brain is slyly plopped into the Monster's skull, all without the knowledge of benign Dr. Ludwig Frankenstein, and the newly restored Monster is allowed a few moments to excitedly ponder eternal life, unsurpassed strength and even worldwide domination, showing disturbingly eerie parallels with another Old World madman much in the news in 1942. No sooner have such grandly global ideas been introduced, however, than everything literally goes to blazes in the climax. Along with his score for Horrse of Frorlkerrsteirl (written two years later with the assistance of fellow Teutonic Bnligrk Paul Dessau, who had also fled Hitler's march across Europe), The Ghost of Frnrlketlsteirr is well thought-out and cleverly constmcted, showing Salter near the zenith of his film-scoring powers at Universal. While Horrse of Fr(irlker~steirlis in many ways a far stronger, more vibrant score, boasting a greater variety of mood and color and musical invention, The Ghost of Frni~kerzsteirralso ranks as a solid work, significant in its length, its zeal and the marvelous variation and interplay of its array of motifs - so stunningly effective as to easily render it \\lorthy of a life beyond the film. And if Salter's fanciful Horrse of Frorlker~steir~score is a sort of Mor~sters(it nrl E.1-I~ibitiorl(to contort a phrase from Modest Mussorgsky), then Tlle Ghost of Frnrlkeirsteirr certainly qualifies as Salter's ~rltimateentry in the realm of Stlrr711 rrrld Drnrrg, conjuring up, and with the greatest of glee, raging storms and superhuman power and quashed dreams and smoldering evil. Infused with the romantic impulses of Beethoven, Weber and Hoffinann, all tightly coiled and ever-ready to spring, the score surely would have won a nod of admiration from Salter's teacher, Franz Schreker. Sadly, because he was a Jew, Schreker's career and later his reputation nrere vilified by the Nazis in Germany. By the time Salter came to the U.S. in 1937, fleeing the very same shadowy forces, his teacher had been dead three long years. Even so, when Salter years later talked about his own particular talents being tailor-made for the scoring of horror films (a genre, incidentally, he had no special fondness for), it was obviot~she nras referring to Schreker as well as his early-day experiences at UFA. "They gave me, shall we say, the basic tools to face these things," he said, explaining his insight into co~nposingfor various Universal horrors on occasion of Marco Polo's re-recording of his complete Horrse of Frnrrkerlsteirr score in 1994. "I knew what I was doing and how to achieve that particular atmosphere of dread and terror." Salter wastes no time indicating the film's tenor in his forceful Main Title for The Ghost of Fr~rrlker~steirr.The orchestra, colored by highly charged brass and strings, straightaway announces the motif for the Frankenstein Monster while at the same time briefly foretelling of Ygor's sometimes precarious influence on the superhuman creation. The Main Title also addresses other factors to come, including a thunderstorm whose lightning gives the Monster strength. After a jarring moment of pizzicato, the Monster's lumbering but powerful motif takes on a life of its own in the deepest recesses of the orchestra. In this splendid new reconstmction of the music by Salter friend John Morgan, the Main Title concludes with a solo on the English horn of Ygor's motif, heard in the film as one of the nervous villagers refers to the demented shepherd "sitting beside the hardened sulfur pit, playing his weird horn as if to lure the Monster back from death to do his evil bidding." This lonely bit of music is followed by the cue Blovring up the Castle, a merciless hit of rampaging in the orchestra to match the mood of the villagers as they storm the ruins of the Frankenstein castle where Ygor has taken refuge. Listeners familiar with Salter's work will notice the composer incorporates music into this cue from Tlze WolfMnll, which he had labored on in late 1941. However, Salter also transforms the music into something apart from that score, cleverly shedding more pronounced mention of the distinctive, three-note motif for Tlte WolfMnll, thus indicating to all who are truly listening that this latest horror film has nothing to do with werewolves, silver bullets and full moons (though, for the record, it was the very last Universal Frankenstein picture of the period that could make that claim). These early moments in Tlze Gltosf of Frnnkenstei~tare among the most atmospheric of all and Salter chillingly complements much that is lurking across the screen. In Freeing the Monster, shivering strings and an icy novachord (for this re-recording an organ) awaken hope in Ygor, his motif sounding triumphantly in French and English horns in unison as the shepherd realizes the dynamiting of the castle has freed his monstrous friend from a tomb of hardened sulfur. Soon we hear the hulking motif for the Monster, resonating in the lowest instruments in the orchestra, as Ygor helps the stunned creature to his feet and out beyond the rubble before the castle's complete destruction. And the seemingly natural ability of all Teutonic composers to conjure up storms of the most fierce proportions is proven again with the cue Renewed Life, which finds Salter using the vast resources of the orchestra to stii~inglydepict nature at the height of its fury - swirling strings for wind, pounding timpani for thunder, crashes on cymbals and jarring Janet Ann Gallom, Lon Chaney Jr. and Bela Lugosi during a telling rnon~er~tin The Ghost of Frarlkensteirr pizzicato for lightning bolts. Amidst all of this, the undying Monster stands in the open, his arms raised heavenward, till a bolt of lightning- - strikes him, Salter's music both reveling in the lightning's restorative effects and complementing Ygor's excitement as he now comes to a sudden realization and cries out, with a dramatic flair as only Lugosi co~llddeliver: "Your father was Frankenstein, but your mother was the lightning! She has come down to yon again!" Salter may have fled his homeland but the grandly romantic traditions of Germany and Austria had not fled him. The cue Frankenstein's Castle, which finds the mad doctor's upright physician son devotedly conducting brain surgery in a sanitarium for those sick in mind, introduces a new theme, this one far removed from what has gone before. Sounded at first by an oboe, it at once suggests hope and sincerity as the strings escort it in its ascent, yet it is also imbued with a certain sadness, indicative of the pall that hangs over the Frankenstein name. The following cue, Arrival at Vasaria, provides good reason for such reservations, Ygor's accursed English horn announcing the unholy pair's arrival in the town where Ludwig Frankenstein works, far from the scene of his father's experiments. Ygor's influence in the orchestra falls away, however, when an innocent lullaby, fashioned from a wealth of German folk song, suddenly sounds, initially in the violins, then in two oboes in thirds, conveying the power a small girl has on the "giant" entering the village with Ygor. A musical beauty-and-the-beast interplay soon develops between motifs for the Frankenstein Monster and the little girl Cloestine, enchanting during the brief time it lasts. However, once the adults get involved, the music NmS dark and violent till at last the little girl's influence resurfaces in the woodwinds and the strings. The cue ends in more violence as the crowd leaps upon the Monster once he sets the little girl down safely. With Erik's Dilemma, Salter serves up yet another theme, this a gaily romantic one for Erik, the town prosecutor, and Elsa, the daughter of Ludwig Frankenstein. However, this being a Universal horror picture, romance can endure for only so long. Ygor is far more intriguing and pivotal a character in Tile Ghost of Frnr~ker~steir~than either the Monster or Dr. Frankenstein, and Salter's gripping score never fails to stress that, often in more imaginative ways than the filmmakers themselves do. Just a wisp of his motif, such as at the beginning of Baron Franltenstein's Diary when it dances on the oboe and flute above the rest of the music, is enough to instill a sort of devilish magic. In the case of Baron Frankenstein's Diary, it is enough to endow the music with a restless sense of anxiety, so effective Salter used it again in Frnrikensteiii Meets tlre Il'o/fMflri as the title characters seek the baron's much-consulted diary and later in Horrse ofFrn~ikerrsteir~,when evil Dr. Niemann returns to his own castle in order to use the records in his especially bizarre experiments in brain-swapping, again involving the Monster. In Tlie Glrost of Frflrikeristeirr, this music is interrupted by mention of the dead baron himself, his seemingly eternal creation and, on a lone clarinet, Elsa. Salter even gives us Elsa's fractured impression of Ygor with its gaggle of dissonant woodwinds. In The Monster's Trial, the little girl's influence on the Monster initially comes to the forefront of the music, but when things again go badly for the Monster in the local courtroom, he explodes in fury, the brass and timpani conveying dynamic power that growls with ferocity until Ygor's influence - here represented by his horn (in other words, for our purposes, the English horn again) - channels this orchestral brawn and brings it to a wildly exciting finish. In the cue's conclusion, Ygor's unquestio~~able influence displays itself in the taunting French horns as villagers are left to ponder the Monster's escape. If any cue hints at how Salter might have scored Frnnkerrsteiri and Tire Bride of Aarrkerrsteiri, it is Elsa's Discovery, a rousing piece of music scored for a wonderfully edited montage in which Dr. Frankenstein's daughter peruses her grandfather's diary, conjuring up past horrors in the process. Universal's film-makers display the Frankenstein legacy to poor, distraught Elsa through clips of spooky cemetery resurrections and laboratory sacrilege drawn from the classic Frankenstein films of James Whale. Especially during those moments in which the sleeping Monster ascends into the lightning-filled heavens, Salter's dynamically intense scoring positively pops and crackles with excitement, prompting one to wonder how familiar he was with Franz Waxman's own ground-breaking score for Tlre Bride of Frnr~keristeirt. Salter readily acknowledged seeing the Whale film before coming to America and knew Waxman well fro111their days in Gernlany but denied Waxman's score for The Bride of Fror~kerlsteirt had any stylistic influence on him. And, indeed, ~vhileSalter occasionally recycled his own music and that by such colleagues as Skinner and Universal music director Charles Previn in other films - The A4rrnrrr1j~'sTorrtb, for instance - he used none of Waxman's score from the earlier Frankenstein film in any of his own Frankenstein scores of this period. As far as musical influences go, Ygor's continues to dance about in Elsa's Discovery and the subsequent Dr. Kettering's Death, both of which briefly draw from The 1VolfMnr1score. The sad tone in Ygor's Scheme (somewhat abridged in the film itself) finds Dr. Frankenstein pondering the now subdued Monster in his house as well as the creature's role in the death of medical associate Dr. Kettering and the thing's attack on Elsa. Ygor's presence hovers over the cue until Dr. Frankenstein takes a moment to study the slumbering Monster in his lab, the subject of his concern conveyed by a creepy contrabassoon cal-rying the Monster's lumbering motif. Rapidly mounting chords in the orchestra announce the Monster's awakening. Also briefly cut as heard in the final film, Baron Franlienstein's Advice finds Ludwig Frankenstein's noble yet melancholy theme rising above the Monster's own motif, still lurking below in the lowest of the winds. Mention is also made of Ygor's evil presence. The arrival by - of all things - Baron Frankenstein's ghost brings yet another dimension to the gloom hanging over the sanitarium, with a creepy novachord, lustling harps, eerie trumpets (complete with Harmon mutes), vibraphone smears, piano trills, ghostly violins and winds resonating in the depths, all conjuring up the madness quickly overtaking the good doctor as he hatches the bright idea of planting the brain of his dead medical associate into the Monster's skull, orchestral forces mounting in grim triumph as he resolves to carry out the wild plan. As for A New Brain, Salter deftly conveys Ygor's soothing explanation to his monstrous friend about the doctor's plan, so well that the Monster's own motif in the orchestra, seemingly ready to explode in outrage again, is suddenly and wonderfully quieted. With Searching the Castle, the high stakes involved for Dr. Frankenstein and the suspense incurred during a search of his castle by local authorities are nervously suggested with a bit of atmospheric music raided from Salter's work on Tlte blrolfA4o11 only a few months earlier. Some of the most chilling music yet is served up with Monster Kidnaps Child/IvIonster's Desire, which combines two cues for the Monster's decision to kidnap the little girl \\rho has befriended him in order that her brain can reside in his skull. The hulking figure's movement in the contrabassoon, set against menacing timpani strokes, anxious strings and a disturbing flutter-tongued flute at the outset, truly suggests a child's nightmare, especially when the woodwinds and then the strings pick up the little girl's lullaby. Salter carries the absurd idea to frightening levels, finally marsying the motifs. The various brain-transplant schemes reach yet a further outrageous stage as yet another assistant of Dr. Frankenstein - this one an embittered scientist played by Lionel Atwill - conspires with Ygor to transplant the lonely, misshapen shepherd's own brain into the Monster, thus allowing Ygor to always be with his friend and giving Ygor, in effect, unlimited strength and eternal life. With nearly everyone operating under a different idea of whose brain is being transplanted, Salter supplies one of his most stirring cues, Brain Transfer, sounding Ygor's weaqr motif on the English horn and clarinet briefly (with "out-of-key" chords providing a depressing tone) before the marvels of science and evils of alchemy are crisply evoked. Dark, forceful chords in the winds hold out both the promise and the threat of medical progress while strings agitate nervously in the background. At one point, two flutes in unison (complete \\lit11 a light organ playing the same figure) soar profanely about, suggesting the unholy lunacy involved. A familiar theme returns with Mob Psychology, one of Salter's happiest creations, much of it borrowed from, again, Tlre Il'olf Marl, as the to\vnspeople head off to Dr. Frankenstein's castle over the calamity that seems linked to his sanitarium. In Monster Talks, the strings carry forth Dr. Frankenstein's hopes of righting his father's wrongs, even as his own castle is now under attack. The sad truth, however, is revealed in the orchestra, the Monster's motif sounding wickedly in co~ijunctionwith Ygor's omn, the latter quickly evolving into something of a jig (on the piccolo, oboe, organ and harp) before the bold, mounting orchestral chords that have so effectively symbolized the strength of the Monster join in. Salter handles all this with great style and even some dry humor before chaos (some of it, again, raided from Tlre IVdf A40rr) consumes the orchestra. Death of the Unholy Three finds the Monster's motif exploding in rage before Dr. Frankenstein's motif makes a calm and stoic final stand, eloquently concluding in the horns, before mayhem takes over the orchestra as both lab and castle become an inferno. The last moments show promise for poor Elsa as she and her lover flee the burning castle and stroll, literally, into the dawn of a new day. Dr. Frankenstein's motif sounds in the End Cast, providing a fitting tribute to the unfortunate soul and his misguided yet honorable aims. Although unfairly shoved far into the shadow cast by Waxman's towering Tlie Bride of F,niikelisfeiil music, Hans Salter's score for Tile Gliost of Frrn~keelistei~iprovides at least as much energy and imagination as his more famous predecessor. And if the mere programmer status of the film itself has hindered the music's reputation then and now, there's no denying its own powerful style and individuality (though an occasional music critic or two has sought to do just that, reminding one of similarly ignorant statements routinely directed at Erich Wolfgang Korngold's music not too many years ago). And if Salter's music today sometimes seems to pulsate as much with Wagnerian drama as Saturday matinee abandon, it's all done with a joyful air of devil-may-care passion that still renders it potent. Indeed, Salter's work on such films as The W'olfMon, Tile Gllost of Froitkerlsteiit and Holrse of Frnilkensteirt were regularly held out to composers at other studios as examples of how horror scoring should be accomplished, something that surprised and flattered Salter. "The only way I can explain it is to say that these so- called horror pictures were a great challenge, because when I looked at them before scoring they didn't seem to have much fright about them or cohesion, either," Salter said later of Tile G/zo~fof F-n~tkei~steii~and other Universal horror films of the early 1940s. "The challenge was in creating the sense of terror and suspense, and that is something music can do. And I must confess that Ygor's weird horn, in all its disguises and variations throughout the score, still haunts me after all these years." Herman Stein, a talented composer who worked alongside Salter at Universal in the 1950s and had occasion to become acquainted with the old monster music when they worked together on science fiction films, ever marveled at Salter's abilities. "I used to tell him, 'Hans, you're the Master of Terror and Violence,' and yet he was so kind," Stein, 84, said on occasion of the re-recording of these scores. "He and Frank both were. They were two of the sweetest guys in the world. And Hans would surprise you every once in a while. He'd come up with something you'd just never expect." Salter's flair in scoring Tlre Ghost of Frn~rkei~stei~rwas matched by Universal's subsequent marketing of the new film, including the strikingly atmospheric lobby card that appears on the back of this booklet. (Another poster for the movie warned deliciously of the Frankenstein Monster: "He stalks again! No chains can hold him! No tomb can seal him in!") Not surprisingly, Salter's first truly significant solo outing in the horror genre at Universal left him the natural choice for future installments of the Frankenstein saga. However, after scoring Frn~~kensteirrA4eet.s tlre l,Iro/fMcrir and Horrse of Frnrrke~~steir~-the latter a grand summing-up of all that was thrilling about Universal's horror scoring practices - the assignment to score the final picture in the series, Horrse of Dlucrrln (1 943, went to Edgar Fairchild, a 47-year-old songwriter responsible for such tunes as 1 Morle Arrn~rgerirentstidtlr 111e Moon, Moon irr tlre Prrrlor and Tlrese '11' Tlrnt '11' Tllose and a composer more comfortable in the realm of radio than pictures. "In all probability, I simply wasn't available," Salter said, when asked why he wasn't tapped for House ofDrncrrln. "I must have been working on another picture at the same time. We composers were like taxi drivers. As soon as we finished one job, we grabbed the next fare that came along and then nre were off." In the end, Fairchild drew cues from a wide variety of composers on staff and crazy-quilted a score together, in the process pretty much tossing Salter's wonderfully concocted leitmotif scheme for the various monsters out the castle window. The final result was spooky, even fun, but rated little musical sense. While most of Tlre Glrost ?f Frnirke~rstei~lwas newly composed, Universal's post- production deadlines did not always allow enough time to furnish original scores, necessitating the smooth but hasty construction of a score with lively excerpts from ! earlier scores composed in similar styles by Salter and his overworked colleagues in Universal's ever-busy music department. "It was a matter of necessity, sometimes," Salter told Jones. "When we \\.ere behind the eight-ball with these recording dates and I there was no time to write a completely new score, I would use bits and pieces of scores written by myself or my colleagues for other pictures. Charlie Previn called this process 'Salterizing.' I wonld try to create something that would be on an equal footing with a complete new score. And I'm sure that ninety percent of the people didn't know the difference." Such was the case with director Robert Siodmak's Son of Dlucrrln (1943), an atmospheric thriller which concerned the vampire count's decision to flee his own homeland to take a new lease on life in the Deep South. It was a particularly novel twist, one furnished by Siodmak's brother Curt, whom the director reportedly had thrown off the picture for reasons of mere sibling rivalry. Ironically, the year the film was released, Salter followed Dracula's example and officially put the Old World behind him, becoming an American citizen. In a situation that again demonstrated their friendship, Frank Skinner stood alongside Salter during the ceremony. In scoring Son ofDrrrcrrla, Salter raided some of the choicest scores in Universal's music library, including a full-blooded passage from Skinner's score for Alfred Hitchcock's Snboterrr (1942), utilized for a weirdly beautiful sequence in which Dracula's coffin bubbles to the top of a swamp and the vampire (Chaney) issues from within in a wisp of fog before gliding across the water to his attractive disciple n'aiting on the banks. The finale alone shows how aware Salter was of Universal's expanding library of rnr~siccues. As the down-on-his-luck hero races to Dracula's hidden lair in the swamp to destroy his coffin before dawn, we hear Skinner's chase music from Soboferrr. Dracula's arrival moments afterward is heralded by a nod to Salter's own work in Invisible Agerlf (1942). When the count discovers his coffin is already afire, Skinner's aircraft factory inferno music from Srrbotelrr suddenly comes to the forefront. When Dracula, in sheer frustration, turns his vengeance on his mortal enemy, we hear the fiery climax music from The Ghost ofFror~kerrsteirr.And when the morning sun finally falls upon the count and destroys him, Skinner's main title music from SIlerlock Holr~les the lloice of Terror (and all the rest in the Holmes series) sounds. The hero's dash to then find the final resting place of the vampire bride is accompanied by music from The T4'oIfMnrl. And the film's conclusion, in which his childhood sweetheart's tainted remains are burned, is finished with a heartfelt arrangement of music from Tlre Irr~:isiDleMnn Retrrrns. All of this is accomplished within a few minutes. Salter did, however, newly compose an alternately snarling and darkly romantic Main Title for the Siodmak film, briefly incorporating a four-note motif used the year before in hrvisible Agerrt (and heard here prin~arilyin the trombones). This motif was used to richly mysterious effect for Dracula's nighttime rendezvous in Horrse of Frnrrkerrsteirr the follo\ving year. Considering Salter's work on films of dark fantasy, it is little wonder music director Charles Previn quickly warmed to Salter's presence, especially with Universal executives' decision to produce more and more horror films. Block Fridny, one of scriptwriter Curt Siodrnak's earlier efforts incorporating his beloved brain-swapping ideas, was also early proof of Salter's talent, particularly with cues such as Hypnosis, displaying the composer's skill in using the simplest of musical figures in creating mood, tension and outright pandemonium. (The cue briefly touches upon musical ideas furnished by Previ~ias well as Charles Henderson, who gained more fame for his book, How to Sirrg for A!orte)>,though the dramatic use of these ideas here is Salter's own.) The cue Corky, from the film Morr Atode Morrster (1941), also demonstrates the composer's pride in maintaining sheer lnusical integrity in individual cues. In this case, the cue involves a strapping carnivd entertainer named "Dynamo Dan" (Chaney, again) and his ready canine companion Corky playing innocently. The result is a brief but coinplete scherzo, with a definite beginning, middle and end. "It was always my endeavor to write music that made sense as music and, within the flow of the music, to accentuate certain aspects of the film," Salter said later. His reworking of motifs in all sorts of situations is seen in the later cue Electro-Biology, in which Dynamo Dan is subjected to hair-raising experiments that empower him with electrical voltage. It is perhaps Salter's most rollicking mad laboratory music ever, none of which leaves Corky pleased, as his own motif indicates early on. Salter was so fond of Corky he briefly reused it in Tlre I,Vo!f A4crr1 while Edgar Fairchild recycled Electro-Biology in Holrse of Dlurclrln, once again for an outrageous laboratory scene in which a scientist-turned- bloodsucker revives the Frankenstein Monster. (Incidentally, collectors of a much- prized, limited edition soundtrack LP from TIte Ghost of Frnrtkenstein, issued by Tony Thomas from Salter's archives, includes the cue Electro-Biology but under the title A New Brain. However, this was likely a production mistake, as Salter's own conductor book for Tlre Glrost of Frnnkerrsteirr shows no trace of that music but, rather, the very different music recorded in this album for the cue A New Brain. The finished 1942 film also fails to inclnde Electro-Biology on its soundtrack.) While Salter was devoting more and more of his time to scoring Universal's horror films, Skinner was tapped for other assignments, including TIre Horrse of tlre Se~~err Gflhles (1940 and including a bit of scoring reused, in far more effective form, in Horror Islnrrd and Tlre 1Vo!fMnri the following year), Bnck Street (1941, which he scored again when yet another rendition was produced two decades later) and the spy caper Srrboterrr (a sort of early version of Hitchcock's Norrlr I?\>Nortln~~est). However, some of his most memorable music was furnished for the new Sherlock Holmes series that Universal executives decided to mount starring Basil Rathbone and Nigel Bruce, who had already starred together in two such vehicles at Fox. But if Universal's decision to set the legendary sleuth and his bumbling companion loose in modern-day times seems wrong- headed, the films at least boasted far better music than the little provided by Fox. And while Skinner's score for the first installment in Universal's Holmes series, Slrerlock Holrrres nrrd tlre Voice of Terror, was not even fifteen minutes in length, what music there was evoked an air of mystery, suspense and danger - which made Salter's decision to reuse some of it in Son of Drncrrln and Fairchild's decision to recycle some of it in Horrse of Drncrrln understandable. For Slrerlock Holrrres nrrd tlre Voice of Terror; though, the music conjured up the dangers of Nazis rather than vampires and werewolves. All in all, it was a sterling effort for a man described fondly and with the greatest respect by colleague Herman Stein as "a farm boy" whose keen rnrrsical instincts compensated marvelously for what limited formal schooling he had in the subject. Generally regarded as a minor effort in the Universal Holmes series, Slrerlock Holrrres nrld tlre Voice of Terror was directed by John Rawlins, who subsequently oversaw similarly patriotic wartime fare such as 1Ve've Never Been Licked and Lodies Colrrngeolts, though he made his biggest splash during this period helming Arrrbi~rrr Niglrts, Universal's big-budgeted sword-and-sand epic starring Jon Hall, Maria Montez and Sabn. However, there are no such doubts regarding the merit of Skinner's score for Sl~erlockHolrrres mid rlre Voice of Terror. Holmes' ~llotif- practically a call to arms - sounds in the horns and trumpets in hats almost immediately in the film's all-too-brief Main Title and keeps up the good fight as ominous chords pile up in the rest of the orchestra. The motif sounds again in Limehouse, first in the brass, then among the clarinets and finally on a mere flute, conveying the dangers of the dark that beckon the world's greatest crime-solver to London's shadowy east side before mounting chords once again break the air of spooky quiet. This same mood characterizes Christopher Doclts, demonstrating that 44-year-old Skinner too had learned how to propel whole cues with small hot memorable musical fragments, including the motif that drives Holmes onward and is continually jumping from one instrument to another, only adding to the mystery and anxiety. Cut and drowned out by nefarious goings-on in the film, the defiant cue Voice of Terror accompanies the voice Londoners hear on the radio, cruelly taunting them as it alerts them to various acts of terrorism committed by the Nazis. Proof that Salter and Skinner were easy ~nnsicalcollaborators is evident in The Spider, which is actually from Slrerlock Hobrres rrrrd tlte Spirlo 1,Voritnrr, which Salter oversaw in 1944. As was typical of Salter, his music tends to have more vibrant textures than his colleague's work (including, in this cue for a sequence in which a venomous spider is set loose in Holmes' room, a lot of bitonalitp). All in all, though, the same neo-romantic Germanic style is embraced, enlivened by sheer American vitality. No Time to Lose begins with the same orchestral fury that opens the Main Title, then proceeds straight- away into an exciting passage accompanying Holmes and his allies as they race to head off Nazi saboteurs along a desolate stretch of British seacoast. March of Hate, a virhtal companion piece to the relentless main title march from Skinner's score Snhotelr~; shows that Universal's music department was also well up to the task when it came to

Opposite: Universal's Slrerlock Hobres arrd the Voice of Terror mas originally titled Slrerlock Holrrres Saves Lo~zdorrbefore its release. LTLLI 8, ANKERS REGINALD DENNY , THOhIAS GOMEZ hlONTAGU LOVE HENRY DANIEL1 summing up Nazi monsters and their own particular threats to the world. Following a quick and stirring resolution to the suspense at hand, the End Title finds the motif that drives Holrnes doggedly on finally at rest, long enough for a solo horn to sound a decidedly English air (soon followed by the full orchestra) in order to wrap up the first in what would prove a long and popular series of films. Salter and Skinner continued composing at Universal long after Dracula, Sherlock Hol~nesand the Frankenstein Monster ceased to be studio mainstays. Much of their work in the later years is worthy of note, too. Besides a darkly humorous score for Abbott crrld Costello Meet Frrrrrkerlsteirr (1948) that briefly reassembled the studio's most popular monsters, Skinner wrote the lightly engaging music for Morr of o Tlrorrsmld Frrces (1957), a biopic about silent horror actor Lon Chaney that the actor's son had once hoped to star in. h4eanwhile. Salter helped score such popular atomic-age thrillers as Creotrrre Fro111 the Block Lrgoorr (1954), Tlris Islorrd Eortlr (I 955) and Tile Ir~crerlible Slrrirrkirrg h[ort (1957) in collaboration \vith younger composers such as Herman Stein, Irving Gertz and Henry Mancini. Along the way, he also made his mark in various westerns as \\?ell as furnishing a high-spirited score for Ag(rirrst All FIrrgs (1952), an enjoyable Errol Flynn swashbuckler. Meanwhile, at Hammer Studios off in faraway England, Dracula, Sherlock Holmes and the Frankenstein Monster were abruptly revived for a Technicolored wave of shockers, accon~paniedby hefty doses of blood, sex and searing music by Jan~esBernard. These films might have eclipsed Universal's old black and white horror pictures but for Universal's decision in 1957 to package and sell its monster movies to TV, thus introducing a new generation to films ranging from Frorlkerlsfeirr to Deod hilorr 's Eyes to Tlre Spider TVor~rm~Strikes Bock. I11 more recent times, spirited conventions have been staged around the country centering on individoals in one way or another associated with vintage horror films, ranging from long-ago starlets such as Elena Verdugo (\vho choreographed her own gypsy dance in Horrse ~fFror~ke~rsteirr)and Jane Adams (alas, best-remembered as a humpbacked nurse in Horrse of Drncrrlo) to the marketing-savvy descendants of Boris Karloff, Bela Lugosi and Lon Chaney Jr. Celebrities from various studios and periods attend, but there's always a special place devoted to those few surviving from Universal's era, a testament to the horror films of the 1930s and 1940s. Bob Burns, 64, a longtime collector of memorabilia froni numerous fantasy films and himself noted among aficionados for his tongue-in-cheek portrayals as "Major Mars," says it is not hard to understand the films' continuing appeal. "I think they have so much heart and they're just fun to watch," he said on occasion of this recording. "As dated as they are, as hokey as they are, there's also a charm to them, a magic. And a lot of it's in the photography, the spooky sets of dark forests and dank castles and, of course, the music. There's just a feeling in them that is lost to films today." Even Curt Siodmak, normally disposed to criticizing everything produced by Universal, voiced pride upon the issuance of a postage stamp featuring his f~n~yand fanged creation from Tile Ilrolf A~~III."I'ni the only living writer whose imaginary character wound up on a stamp," he joked at century's end, "and in a hundred years I will be famous because the stanip will be valuable!" Burns, who through Preston Neal Jones developed a friendship with Hans Salter during the composer's final years, recalls that the little man who fled Hitler's Germany marveled at the popularity of the Universal horror films long after their original run. "I think he got a kick out of 'em," Burns said. "I don't think he cared about being remembered for that - he did those Deanna Durbin pictures and really enjoyed them - but he just happened to be so good at the horror pictures that the reputation stuck. You know, one of the most fun times I ever had was when my wife and I were over at Tony Thomas' home with Hans and his wife and I screened a print of The Ghost of Fr~rlkerlsteirzjust for Hans. And we suddenly realized that, doring the movie, he was sitting there, quietly critiquing his own music to himself. He'd say, 'Gosh, that's not so bad,' and in this tone of genuine astonishment. And at the end of the picture, he said, 'You know, I did a pretty good job of that score!'" Ample evidence suggests Universal executives never quite appreciated their music department and the wealth of talent laboring on behalf of their pictures, something Salter stoically acknowledged late in life. "They'd screen one of those pictures for us without the music, and it would be r~otlri~~g,"he told Jones. "All the pictures we saved for them! But those executives, they never knew what they had. We never heard a word froni them. They were afraid if they gave us a compliment, we'd ask for a raise." Herman Stein echoed Salter's comments about studio higher-ups late in his own career. "Their thinking never filtered down to us unless it was a complaint about something," Stein said in a 1999 interview on occasion of this recording. "Of course, now they're more aware of such things because there's money in those music tracks. It doesn't mean they're anymore perceptive about film scoring, it doesn't mean they're anymore insightful about the use of music in film, it just means they're more knowledgeable about the commercial aspects." Indeed, a few years after Salter's death passed largely unnoticed by the Hollywood press, filmmakers producing a documentaty about Universal's horror films passed up the brilliant notion of rearranging Salter and Skinner's music for the occasion and instead tapped James Bernard to compose a new background score for the project, ironically evoking Hammer's own distinctive horror films, pictures that almost obliterated the golden-age Universal monsters. While the documentary's producers undoubtedly prided themselves on what they regarded as a clever and appropriate touch, the use of Bernard's music - however well-written it might have been - only proved again how very little insight even today's film-makers possess when it comes to the art of film scoring and the singular magic of the cinema. Bill Whitaker Arraizger's Notes When Tony Thomas introduced me to Hans Salter in 1990, I was thrilled at last to meet and get to know one of my film music heroes, a man who composed music for some of Universal's finest horror films of the 1940s. One of the consequences of my friendship with Hans, and with prodding from Tony, was my entrance into the world of film music reconstruction, which has led to this major series of re-recordings on the Marco Polo label. Unfortunately, much of the classic film music from the Golden Age has not survived in fully orchestrated manuscript form. This means that new orchestrations and instrumental parts must be prepared for any new re-recording of these scores. Luckily, Hans kept copies of many of his scores in the form of piano-conductor parts, which are three-line condensed scores used for copyright, conducting and music editing purposes. Since these short scores are only an approximation of the full scores and are often filled with wrong notes, missing lines and harmonies, the film's actual soundtrack or music track was invaluable in helping make our orchestrations as authentic as possible. Tlze Ghost of Frorrkerwtei~rwas Hans Salter's first solo composing assignment for Universal Pictures. Previously at the studio, he had orchestrated for Frank Skinner (Son of Fmrzker~stei~z)as well as rearranging old cues and writing new material for such films as Tlze Mzoizrr~)~'~Hand, Tlre WolfMnrz and Man Made Mo~zster.In a conversation I had with Hans in 1991, I asked him why he hadn't carried over the thematic music from Skinner's Sorz of Fra~~kerwfehrto Tlze Glzost of Franker~steirz.He explained that, by the time the latter film came around, he had used Skinner's music in so many other films (such as Tlze Mtrnzr~~y'sHarzd) that he felt he should compose a substantially original score for this new film. Also, the budget and schedule allowed the time and money to accomplish this. The three-note monster theme remained in subsequent Salter- composed Frankenstein films, including Horrse of Frcrnker~steirr,which Bill and I were thrilled to finally record col~lpleteon its very own album back in 1994. I was fortunate to have Hans' input when I prepared a much abbreviated version of Tlze

Glrost of Frarrker~steirrfor an earlier Marco Polo recording back in 1990. It was clear that the composer, nearly a half-century earlier, had been unhappy with some of the restrictions and compromises he had to originally make because of budget limitations. With Hans at my side, I went through many of the cues with him asking incessant questions about why this and why that. As this niusic was conceived in the grand syrnphonic manner, the composer was delighted that we had a full symphony at our disposal to recreate this music as he originally envisioned it. He was very specific about what he didn't like in the originals. For instance, there are many portions of the score that have six-note brass chords moving around. Universal's orchestra for this score totaled about 38 players, and because there were only two trumpets and three trombones in the orchestra, one of these brass notes had to be played by a French horn. With our larger orchestra, we were able to utilize three trumpets, therefore providing a better harmonic balance for these sections. I also remember Hans telling me about his dear friend Charles Maxwell, who originally orchestrated this score. Hans said: "Charlie had this penchant for using the celeste everywhere he could fit it in! He loved that instrument, but I found myself eliminating much of this instrument during the recording sessions when I conducted the score." Incidentally, Hans kept telling me during my orchestral reconstruction to "make it better," to which I replied: "It is already better ... I just want to represent you in the best way I can." Although every cue written for Tlre Glrost of Frnrrker~steirris represented on this CD, I did some slight editing within certain cues to avoid undue repetition. Frank Skinner's original score for Slrer-lock Holrries crrrd the Iroice of Terror, which was Universal's first Holmes film after buying the property from 20th Century-Fox, is the only Universal Holmes film to have a substantially original score composed for it. The subsequent eleven films primarily utilized portions of this score and other cues from the Universal music library, although, where needed, a new cue would occasionally be

Opposite: Sample pages from the conductorlpiano books of cues from Tlze Ghost of Frnlzkensteh and Slrerlock Holnzes arzd tlre Voice of Terror.

31 8.2251 24 composed for some special sequence. For instance, the only cue written specifically for 1944's Sl~erlockHolr~res rrrld tlte Spider Worllarl was The Spider, composed by Hans Salter, and since I had access to the conductor sheets for this cue, I included it in our suite. Our recording incorporates all the original mnsic composed for \Toice of Temn Other than source music, which includes portions of Beethoven's Fifth Symphony and the Andante movement from Mendelssohn's Violin Concerto, the only "borrowed" underscore is a section from Skinner's Sir John's Discovery from Tlre kVolfMan and a bit by film composer and former Metropolitan Opera conductor Richard Hageman's Outwitting the Nazis drawn from Universal's 1942 production Paris Cnlli~tg. To fill out this album, we also recorded some bits and pieces from other Universal horror films of the era, including the exciting Main Title for Soit of Draclrla, Hypnosis from Black Friday and two cues from Marl Mnrle A4orlster. I want to thank my friend and colleague, Bill Stromberg, for stepping in and orchestrating the Marl Made Morlster cues when that deadline loomed ominously ahead. I feel very fortunate in having had the golden opportunity to know Hans during his last few years. Whenever we could get together, I eagerly looked forward to his kindness, his inspiration and his gentlemanly remembrances of old Hollywood. Every year, until declining health prevented it, he would invite friends to help him celebrate his birthday at the Sportsmen's Lodge, one of the classy "old Hollywood" eateries, for a gala luncheon of good food, drink and talk. All the individuals named in this CD have played an inestimable role in redressing the neglect of one of our best composers in the field of motion pictures and I thank them for their time, dedication and talent in making this a very special release. John Morgan Johrl Morgar~is o noted cornposer; arrarlger nrtdfilr~t-rrt~rsicI~istorior~ based irl the Los Atlgeles area. Tony Thomas, Hans J. Salter and John Morgan during Salter's birthday celebration in 1992, when he turned 96. Slovak Radio Symphony Orchestra (Bratislava) Oldest symphonic ensemble in Slovakia and easily one of the most accomplished, the Slovak Radio Symphony Orchestra also remains one of the busiest in the area of recording when not giving regular concerts and performing on global tours. For Marco Polo, the orchestra has recorded works by Glazunov, Gliere, Miakovsky and other late romantic composers. It has also recorded significant works of film music, including Ibert's dramatic scores for Golgotltn and Aficbetlr as well as numerous works by Honegger, including Nnpoleorr. William T. Stromberg In addition to his own film scores and his work conducting studio orchestras in Hollywood, William T. Stromberg is noted for his passion in reconstructing and conducting film scores from Hollywood's Golden Age. For Marco Polo he has condncted albums of music devoted to Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Philip Sainton, Bernard Herrmann and Franz Waxman. He has also conducted several albums devoted to American composers, including a second album of music by Ferde Grofe, featuring his Holly~c~oorlStrite and Htrdsorr River. Srtite. Great Film Music on Marco Polo with William T. Stromberg and the Moscow Symphony Orchestra HUGO FRIEDHOFER HANS J. SALTER & FRANK The Adventures of Marco Polo SKINNER The Lodger The Rains of Ranchipur Son of Frankenstein The Wolf Man Seven Cities of Gold The Invisible Man Returns 8.223857 8.223747 BERNARD HERRMANN MAX STEINER Garden of Evil Prince of Players The Lost Patrol Virginia City 8.223841 The Beast With Five Fingers BERNARD HERRMANN & 8.223870 ALFRED NEWMAN King Kong (Complete) The Egyptian 8.223763 8.225078 They Died With Their Boots On 8.225079 ERICH WOLFGANG KORNGOLD Escape Me Never Another Dawn FRANZ WAXMAN 8.223871 Mr Skeffington Devotion 8.225037 8.225038 VICTOR YOUNG ALFRED NEWMAN The Greatest Show On Earth The Hunchback of Notre Dame The Uninvited Gulliver's Travels Bright Leaf Beau Geste All About Eve 8.223857 8.223750 'MURDER AND MAYHEM: PHILIP SAINTON Great Horror Scores from Moby Dick (Complete) Hollywood's Golden Age' 8.225050 The Beast With Five Fingers (Steiner) HANS J. SALTER & PAUL DESSAU The Uninvited (Young) House of Frankenstein (Complete) The Lodger (Friedhofer) 8.223748 8.225132 Sir Cedric HARDWICKE ~dihBELLAMY Lionel ATWlLl Bela LUGOSl Evelyn ANKERS und LON CHANEY

Many thanks to those singular individuals without whose help this album would not have had a qhost of a chance: Scott MacQueen, Preston Neal Jones, David Schecter, Ray Faiola, William H. Rosar, James V. D'Arc, Tom Weaver, Tony Thomas, Bob "Major Mars" Burns, Ann Whitaker, Herman Stein and the eternal Curt Siodmak. Des~gn.Ron Hoares Cover Art. Scott MacQueen