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Home , Angela Morley, Bernard Herrmann

Gregg Nestor, Guitar William Kanengiser, Guitar

Jessica Pierce, Francisco Castillo, Oboe Kevan Torfeh, Cello David McKelvy, Harmonica Anna Bartos, Soprano Executive Album Producers for BSX Records: Ford A. Thaxton and Mark Banning Album Produced by Gregg Nestor

Guitar by Gregg Nestor Tracks 1-5 and 12-16 Recorded at Penguin Recording, Eagle Rock, CA Engineer: John Strother Tracks 6-11 Recorded at Villa di Fontani, Lake View Terrace, CA Engineers: Jonathan Marcus, Benjamin Maas Digitally Edited and Mastered by Jonathan Marcus, Orpharian Recordings Album Art Direction: Mark Banning Mr. Nestor’s Guitars by Martin Fleeson, 1981 José Ramirez, 1984 & Sérgio Abreu, 1993 Mr. Kanengiser’s Guitar by Miguel Rodriguez, 1977 Special Thanks to the ’s estates for access to the original scores for this project. BSX Records wishes to thank Gregg Nestor, Jon Burlingame, Mike Joffe and Frank K. DeWald for his invaluable contribution and oversight to the accuracy of the CD booklet. For Ilaine Pollack well-tempered instrument - cannot be tuned for all keys assuredness of its melody foreshadow the seriousness simultaneously, each key change was recorded by the with which this “concert composer” would approach duo sectionally, then combined. Virtuosic glissando and . pizzicato effects complement Gold's main theme, a jaunty, kaleidoscopic waltz whose suggestion of a Like Korngold, found inspiration in later merry-go-round is purely intentional. years by uniting both sides of his “Double Life” – the title of his autobiography – in a concert work inspired by his The fanfare-like opening of ’s ALL film music. Just as Korngold had incorporated themes ABOUT EVE (1950), adapted from the main title, pulls us from Warner Bros. scores in his 1945 Concerto, into another universe of intrigue: the theater. The players Rózsa drew from five of his MGM-era movies to create in Joseph L. Mankiewicz’s classic may be manipulative the elegant SUITE IN THE OLDEN STYLE. Arranged by and even cruel, but like the glittering world they inhabit, Rózsa’s friend , and completed not their words are literate and exhilarating - qualities long before the composer’s death, the suite was written reflected in Newman’s propulsive overture, offset by a for flute, oboe/english horn, cello and harpsichord; was tender middle theme. dedicated to harpsichordist Marvel Jensen, Rózsa’s music coordinator. For this recording, the harpsichord Cathy's Theme from WUTHERING HEIGHTS (1939) is part has been adapted for guitar by Gregg Nestor, who one of Newman's best-loved compositions - and a piece has also added his own of the Bourrée which nearly wasn’t written. That year, Newman left his from MOONFLEET (1955). longtime employer, producer Samuel Goldwyn, to become head of 20th Century Fox’s music department. The courtly Le Passepied de Vaubiessard originally ew things encourage artistic rediscovery so much Goldwyn hired Newman back for the one film, confident evoked the elegance – and hypocrisy – of mid-19th as a change in perspective. The music represented that he could intensify the romantic elements needed to century France in Vincente Minnelli’s screen version of Fon this album has endured in the memory of both produce a hit (Goldwyn had originally rejected the project MADAME BOVARY. The sunny Bourrée is a happy filmgoers and music lovers; but in adapting these pieces on the grounds that “I don't like stories with people remnant of the ill-fated 18th century drama MOONFLEET for two guitars, in arrangements based faithfully on the dying in the end!”). Newman’s haunting melody suggests (1955), directed by Fritz Lang and starring Stewart original scores, guitarist and arranger Gregg not only the elusive spirit of Catherine Earnshaw (Merle Granger; while The Duchess of Brighton recalls the Nestor encourages us to both renew and rethink some Oberon), but the eternal quality of nature in which her comic ministrations of Margaret Rutherford’s character old acquaintances. love for Heathcliff (Laurence Olivier) blossoms. in 1963’s THE V.I.P.S (Rózsa’s playful theme may have helped Rutherford win that year’s Best Supporting “Andrés Segovia used to say that one is able to capture DOWN TO THE SEA IN SHIPS (1949) was another, more Actress Oscar). all the different fragrances of the on guitar, but adventure-driven 19th century tale scored by Newman, viewed in a bottle, in miniaturized form,” observes who researched period sea shanties before creating a The next three movements – Pavanne, Gaillarde, and Nestor. “A guitarist can produce tone-color changes on memorable one of his own. His invigorating Hornpipe Love Song - derive from Rózsa’s score for the 1956 the strings; he can imitate qualities of a particular resurfaces throughout the film, an ode to the lure of the romance DIANE, starring Lana Turner as 16th century instrument. The challenge of these arrangements was to sea. Its vigorous contrapuntal lines are perfectly suited to French countess Diane de Poitiers, whose admirers bring forward the most important elements from their a two-guitar arrangement; a sustained-note “chime” include King Francis I – and whose foes include the orchestral guise. The guitar, being a plucked instrument, effect adds to the atmosphere, suggesting the bell of the murderous Catherine de Medici. (Observed Rózsa, “Lana can expose individual voices, voices you might not have New Bedford whaling harbor where much of the film is Turner was, of course, as far removed from Diane de heard before, and make them very clear and distinct. It set. Poitiers as Sunset Boulevard is from Blois.”) More focuses the basic substance and can highlight the striking than the Cinemascope-lensed plots and structure of the music.” Best-known for his action-adventure scores, Erich counterplots is Rózsa’s musical depiction of court life in Wolfgang Korngold was no less a master of expressive two 16th century dance tunes (one of which is Belle qui It can also create musical puzzles - solvable through a vocal writing, as illustrated in his several operas and his tiens ma vie) and his setting of timeless passion in the mix of musicianship and technical invention. The opening occasional songs for film. My Love and I (with lyrics by Love Song. of ’s IT’S A MAD, MAD, MAD, MAD WORLD Oscar Hammerstein II, and presented here for solo (1963), transcribed from the movie’s finale, leapfrogs guitar) is one of Korngold’s early screen compositions, a The final movement, The of Wales, harkens back teasingly from key to key, its equilibrium as unsteady as song written for the Paramount film GIVE US THIS to the story of YOUNG BESS – a.k.a the future Queen the film's money-mad protagonists. Since a guitar - a NIGHT (1936). Its harmonic eloquence and the gentle Elizabeth I – portrayed by Jean Simmons in MGM’s 1953 lush historical fiction. This music was a Rózsa favorite the long-ended affair between Ruth Grandfort (Anne director Stanley Kramer, which include INHERIT THE from the score, but like its predecessors in the suite, no Baxter) and Michael Logan (Montgomery Clift), a priest WIND (1960), JUDGMENT AT NUREMBERG (1961) and knowledge of its cinematic history is necessary to enjoy whose romantic past will implicate him in a murder. IT’S A MAD, MAD, MAD, MAD WORLD (1963). Guitarists its craftsmanship and lyricism. Gregg Nestor and Fred Benedetti have also recorded A more famous Tiomkin song came from William Wyler’s Gold's Songs of Love and Parting in an arrangement for Bernard Herrmann's music for (1960) was FRIENDLY PERSUASION (1956), based on Jessamyn voice and two guitars, for Cambria Records (CD-1062). audacious in its instrumentation. It was composed solely West’s stories about an Indiana Quaker family. Tiomkin’s for string orchestra - complementing the black-and- gentle melody Thee I Love (which was originally to be ALFRED NEWMAN (1901 - 1970) white thriller with “a black-and-white sound,” to quote the film’s title) is adapted here from Angela Morley’s One of Hollywood’s most prolific the composer. Herrmann rose to the challenge, finding arrangement of the theme for the Boston Pops. and gifted composers, Newman stunning variety in phrasing, rhythm and color. wrote and adapted music for The suite A PRESIDENT’S COUNTRY (1966) was hundreds of between 1930 In adapting the film’s Prelude for two guitars (a duality assembled by Tiomkin for a short film narrated by and 1970, and won a record nine Norman Bates might have appreciated), Gregg Nestor Gregory Peck that showcased southwest Texas, . As the head of found the rhythmically charged piece, originally a homeland of then-President Johnson. On its own, the 20th Century Fox music department showcase for string timbres, equally suited to the varied music provides a robust yet poignant retrospective of (1939-1960) Newman was admired colors of guitar; but a small modification was required to Tiomkin’s long association with the western in film and not only for his original scores but make the languorous, descending chords of the film's television, featuring themes from RED RIVER (1948), for his and for his taste in hiring composers first scene effective in the translation. “When played as DUEL IN THE SUN (1946), GIANT (1956), GUNFIGHT AT (among them Bernard Herrmann, and block chords, as strings would play, the result sounded THE O.K. CORRAL (1957), television’s RAWHIDE (1959), ). Newman’s most famous scores include dull. It wasn’t until we added a very gentle, harp-like HIGH NOON (1952), and THE ALAMO (1960). Originally those for STREET SCENE (1931), THE HUNCHBACK OF arpeggiation that it made musical sense.” written for small orchestra, the suite is presented here in NOTRE DAME (1939), THE SONG OF BERNADETTE Gregg Nestor’s showpiece for solo harmonica (an (1943), THE DIARY OF ANNE FRANK (1959), and THE This moment of calm is deceptive; as the film's short- instrument added for this arrangement) with two-guitar GREATEST STORY EVER TOLD (1965). lived heroine Marion Crane (Janet Leigh) makes her accompaniment. escape on a rain-soaked highway, the jangling Prelude returns, which as Herrmann observed “tells the Steven C. Smith (1897 - 1957) audience, who don't know something terrible is going to One of Vienna’s most celebrated happen to the girl... that it’s got to.” Author and Producer Steven C. Smith received the composers in the early 20th 1991 ASCAP/Deems Taylor Award for his biography century, Korngold was A very different tale of escape is told in WATERSHIP A HEART AT FIRE’S CENTER: THE LIFE AND MUSIC considered a serious rival to his DOWN (1978), the animated film based on Richard OF BERNARD HERRMANN (UC Press). A four-time contemporary Richard Strauss, Adams’ British fantasy novel. This story of a tribe of Emmy nominee, his television work includes the he composed many of his operas highly intelligent rabbits and their quest for safety is not A&E series BIOGRAPHY and the 2009 Blu ray and concert works while in his without its dark side, and like its source material it has a documentary PASSION, PREJUDICE AND SOUTH teens and twenties. Korngold serious reverence for nature, as heard in Angela Morley’s PACIFIC: CREATING AN AMERICAN MASTERPIECE. first came to America in 1934 to Elgarian Main Theme. Contrast comes in a giddy, adapt Mendelssohn’s music for intoxicated waltz, originally for saxophone and orchestra, Max Reinhardt’s film of A that describes the seagull Kehaar (voiced by Zero ERNEST GOLD (1921 - 1999) MIDSUMMER NIGHT'S DREAM. The Nazis’ invasion of his Mostel). A child prodigy, Gold began homeland a few years later convinced him to stay in Los composing at the age of five in Angeles, where he wrote romantic, highly influential Prior to Bernard Herrmann, ’s most his native Vienna. After the scores for Warner Brothers films. He received Academy frequent collaborators were and Dimitri German takeover in 1938, he Awards for ANTHONY ADVERSE (1936) and THE Tiomkin, the prolific Russian-born composer who is emigrated to the United States, ADVENTURES OF ROBIN HOOD (1938); his other films remembered as much for his film songs as his scores. first to New York, then Hollywood include CAPTAIN BLOOD (1935), THE SEA HAWK (1940) The austere thriller I CONFESS (1953) was given fleeting in the mid-1940s. Gold received and KINGS ROW (1942). moments of romanticism with Tiomkin’s theme the 1960 Oscar for his score for (originally for voice and orchestra, with lyrics by Ned EXODUS; he is probably best MIKLÓS RÓZSA (1907 - 1995) Washington); it recalls, with otherworldly remoteness, known for his collaborations with For over half a century Miklós Rózsa maintained a highly successful career as both a (1958), (1959) and PSYCHO THE SEA (1958). His autobiography, Please Don't Hate concert and film composer. (1960). His last score was for (1976). Me, was published in 1959. Born in Hungary, Rózsa studied in Leipzig and worked in Paris ANGELA MORLEY GREGG NESTOR, guitar and where he scored (1924 - 2009) Internationally acclaimed his first film, the British KNIGHT Angela Morley was born in guitarist Gregg Nestor has WITHOUT ARMOUR, in 1936. , , , the built a strong following for Other collaborations with its child of amateur singers. A his abilities as soloist, producer Alexander Korda saxophone and player, accompanist and arranger. followed, among them THE she toured the country in Finalist in the 1981 New FOUR FEATHERS (1939), THE bands at age 16; by 20 she York Concert Guild THIEF OF BAGDAD (1940), and had settled in London, playing Competition held at JUNGLE BOOK (1942). In for live radio broadcasts. Two Carnegie Hall, Gregg has Hollywood, Rózsa worked with years later she began studies recorded and broadcast in such directors as Alfred Hitchcock (SPELLBOUND), with , a student Holland, Belgium, Spain Vincente Minnelli (MADAME BOVARY, LUST FOR LIFE), of Zoltán Kodály, and with and for the BBC in and Billy Wilder (DOUBLE INDEMNITY, THE LOST Walter Goehr, a student of London. In his London WEEKEND, THE PRIVATE LIFE OF Schoenberg. At age 29 she began scoring films, as well debut, The Times critic commented on his being and others). He received Oscars for SPELLBOUND as arranging and conducting for such singers as Mel “uncommonly communicative, a real artist in timing and (1945), A DOUBLE LIFE (1947), and BEN-HUR (1959). His Tormé, Marlene Dietrich and Noel Coward. Her film shading, in stylish fluency and tact besides wholehearted concert works include a written for credits include THE LOOKING GLASS WAR (1969), communication with his composers.” Many works Jascha Heifetz, a concerto, and a guitar sonata, CAPTAIN NEMO AND THE UNDERWATER CITY (1969), arranged by Gregg Nestor for solo/duo guitars or with written for and recorded by Gregg Nestor (BSX Records- WHEN EIGHT BELLS TOLL (1970), THE LITTLE PRINCE various ensemble have been published. For this BSXCD 8845). (1974) and (1976), the recording he was allowed access to personal archives of latter receiving Oscar nominations. She also won three the composers represented here. The results are BERNARD HERRMANN . arrangements as concise and accurate as possible to the (1911 - 1975) composer’s original intentions. For this CD, in duet with The son of Russian immigrants, William Kanengiser, Mr. Nestor’s guitar is heard on the Herrmann grew up in New York, (1899 - 1979) left channel. where he attended Juilliard and Born near St. Petersburg, New York University. In the early Tiomkin graduated from the St. WILLIAM KANENGISER, 1930s he joined the staff of Petersburg Conservatory of guitar CBS radio; as a CBS staff Music and St. Petersburg Recognized as one of conductor (and later as chief University; he also earned a law America’s most brilliant conductor) he championed new degree from the University of St. guitarists, William and neglected music, including Mary’s. He began his musical Kanengiser has developed that of and career in 1919 as a concert a unique repertoire for his . In 1938 he pianist and conductor; in 1925 instrument, ranging from became music director of Orson he came to the United States, dazzling arrangements of Welles' on the Air; their association starting his film work in 1929. Mozart, Handel, and included radio broadcast and First associated with Frank Bartók to his innovative Welles’ first two films, (1941) and THE Capra (on LOST HORIZON, YOU CAN'T TAKE IT WITH YOU, excursions into the music MAGNIFICENT AMBERSONS (1942). Herrmann was a MR. SMITH GOES TO WASHINGTON and others), Tiomkin of Eastern Europe, the master at varying his music's instrumentation to suit the would give his melodic, often aggressively dramatic style Caribbean, and . Mr. Kanengiser has performed in psychological and atmospheric needs of a film. His to films by Hitchcock (SHADOW OF A DOUBT, recital and as guest soloist with in virtually features include ALL THAT MONEY CAN BUY (1941) for STRANGERS ON A TRAIN, I CONFESS, DIAL M FOR every major American city, ranging from New York City’s which he received an Oscar, THE GHOST AND MRS. MUIR MURDER), George Stevens (GIANT) and Carnegie Hall to San Francisco’s Herbst Theater, as well (1947), THE SEVENTH VOYAGE OF SINBAD (1958), and (HIGH NOON). He won Oscars for HIGH NOON (1952), THE as throughout Canada, Europe, and Asia. The First Prize eight films with Alfred Hitchcock, including HIGH AND THE MIGHTY (1954) and THE OLD MAN AND Winner of the Concert Artists Guild competition as well as major international competitions in Toronto and Paris, teacher in and around Los his debut recording for GSP won an “INDIE” award for Angeles county. He is Best Classical Recording, and he records for Telarc as a active playing recording member of the Guitar Quartet. For this CD, sessions, concerts, and in duet with Gregg Nestor, Mr. Kanengiser’s guitar is teaching. Previous heard on the right channel. accolades include having been principal and solo JESSICA PIERCE, flute cellist for the L.A. Mozart Flutist Jessica Pierce began Orchestra from 1978-1992, and playing with the her studies in Northern Temianka Virtuosi from 1985-1990 (and touring with with Isabelle same group under the auspices of Columbia Artists Chapuis and Mimi Carlson. Management). Mr. Torfeh’s studies were completed at Jessica attended Santa U.S.C., L'Accademia Chigiana in Siena, in England with Clara University where she William Pleeth, and in Salzburg at the Hochschule received a Bachelor’s Mozartium. Degree in both music and French. During her time ANNA BARTOS, soprano there, Jessica was a soloist Anna Bartos is an active recitalist with the Santa Clara in the United States, Canada, Orchestra as well as the Saratoga Symphony. She was Mexico, the Caribbean and Russia. accepted into the prestigious Academie Internationale She is known for her poignant and d’Eté de Nice where she studied with Philippe Bernold, thrilling performances of Spanish Christian Lardé and Claude Bolling. Her studies then and Latin American song brought her to Paris where she began a guitar and flute literature, among other repertoire. duo, AlmaNova, with guitarist, Almer Imamovic. The duo Since 1994, she has toured her continues to perform to great acclaim. Jessica is original drama, La Maja Olvidada, currently Professor of Flute Studies at the South with the non-profit sponsorship of the New York Pasadena Music Center and Conservatory. Foundation for the Arts, and a grant from the Spanish Consulate. Ms. Bartos is on the vocal faculty of New York FRANCISCO CASTILLO, University and gives master classes and lecture-recitals oboe / english horn for the College Music Society and other organizations. Francisco earned his Masters in Music from the DAVID McKELVY, University of Southern harmonica California and in oboe, David McKelvy brings to composition and this recording a conducting from the background in film and University of Costa Rica. television, and a concert Francisco is the principal repertoire ranging from oboe for the Redlands Bach to Poulenc. His Symphony, the California performance styles Philharmonic and Professor range from classical to of Oboe at the University of country blues. He has Redlands, Pomona University, Pasadena City College, Los worked with Van Dyke Angeles High School for the Arts and Idyllwild Arts Parks, Mike Post, Arthur B. Rubinstein, Academy. and the late . David is the author of “The Instant Harmonica” instructional series, published by Hal KEVAN TORFEH, cello Leonard. Kevan Torfeh works as a free-lance musician and Gregg Nestor, Guitar William Kanengiser, Guitar Jessica Pierce, 1. IT'S A MAD, MAD, MAD, MAD WORLD 2:30 Flute Ernest Gold Flute 2. Overture: ALL ABOUT EVE 2:00 3. WUTHERING HEIGHTS 2:32 Francisco Castillo, 4. DOWN TO THE SEA IN SHIPS 2:17 Oboe Alfred Newman 5. MY LOVE AND I 3:48 Erich Wolfgang Korngold Kevan Torfeh, Gregg Nestor - solo guitar Cello Cello SUITE IN THE OLDEN STYLE David McKelvy, with Jessica Pierce, flute • Francisco Castillo, oboe/english horn • Kevan Torfeh, cello Harmonica 6. Le Passepied de Vaubiessard (MADAME BOVARY) 3:08 Harmonica 7. Bourrée (MOONFLEET) 2:25 8. The Duchess of Brighton (THE V.I.P.S) 1:10 Anna Bartos, 9. Pavanne & Gaillarde (DIANE) 2:09 Soprano 10. Love Song (DIANE) 2:08 11. The Prince of Wales (YOUNG BESS) 2:51 Arranged by Miklós Rózsa Gregg Nestor 12. Suite: PSYCHO 4:51 Bernard Herrmann Tracks 1-5 and 12-16 13. Suite: 5:10 Recorded at Penguin Recording, Eagle Rock, CA Angela Morley July,July, AugustAugust 19891989 Engineer: John Strother 14. MUSIC OF THE NIGHT 2:42 with Anna Bartos, soprano Tracks 6-11 Recorded at Villa di Fontani, Lake View Terrace, CA 15. FRIENDLY PERSUASION 3:26 February 19th, 2009 16. Suite: A PRESIDENT’S COUNTRY 10:04 Engineers: Jonathan Marcus, Benjamin Maas Dimitri Tiomkin with David McKelvy, harmonica Total Time 52:48 All arrangements ൿ Ꭿ 2009 Gregg Nestor. All Rights Reserved. except Tracks 6-11 ൿ Ꭿ 2009 BSX Records. All Rights Reserved. Released by BSX Records, a division of buysoundtrax.com • 2828 Cochran Street #287, Simi Valley, California 93065