The Film Music of William Alwyn (1905 – 1985), Volume 4

Home , Anna Neagle, Fortune Is a Woman, Miles Malleson, On Approval (play), They Flew Alone, William Alwyn

William Alwyn,1960

premiere recordings

Suite from ‘The Black Tent’ (1956) 15:21 Reconstructed and arranged by Philip Lane 1 1 Main Titles and Opening Scene. Moderato 2:37 2 2 Arab Scene. Moderato 3:37 3 3 In the Camp. Moderato 4:03 4 4 Nocturne and Finale. Moderato – Poco meno mosso – Moderato 5:02

Suite from ‘On Approval’ (1944) 6:11 Reconstructed and arranged by Philip Lane 5 1 Title Music. Moderato – Vivace – A tempo di valse – 1:08 6 2 Polka. Tempo di polka 1:05 7 3 Proposal Waltz. Moderato – Tempo di valse 1:32 8 4 The Lancers. Vivace – Poco meno mosso – Tempo I – Poco meno mosso – Tempo I 2:23

3 Suite from ‘The Master of Ballantrae’ (1953) 5:52 Reconstructed and arranged by Philip Lane 9 1 Main Titles. Moderato 1:22 10 2 Jamie and Alison. Adagio – [ ] – A tempo I 2:18 11 3 Spanish Dance. Vivace – A tempo giusto ma meno 2:12

12 Prelude from ‘Fortune Is a Woman’ (1957) 4:41 Arranged by Philip Lane Moderato – Broader (Andante espressivo) – Più agitato – Moderato – Più mosso – Più mosso – Con moto

13 Mermaid’s Song (1947) 3:27 Composed for Miranda Arranged by Philip Lane Charlotte Trepass soprano Andante

4 14 Prelude from ‘Saturday Island’ (1952) 2:54 Reconstructed and arranged by Philip Lane Allegro

Suite from ‘Shake Hands with the Devil’ (1959) 14:06 Reconstructed and arranged by Philip Lane 15 1 Dublin 1921. Moderato 2:57 16 2 People of Erin. [ ] 2:14 17 3 The Black and Tans. Moderato – Molto meno mosso – Più mosso e molto accelerando 2:53 18 4 Professor Sean Lenihan. [ ] 1:59 19 5 Trouble. [ ] 1:48 20 6 Rebel to the End. Andante 2:11

21 Main Titles from ‘The Ship That Died of Shame’ (1955) 2:12 Allegro ma non troppo

5 Suite from ‘They Flew Alone’ (1941) 6:56 Reconstructed and arranged by Philip Lane 22 1 Prelude. Molto maestoso – A tempo, ma più mosso – A tempo, ma stringendo – 2:04 23 2 Nocturne. Moderato (à la Chopin) – Alla marcia – 1:53 Paul Janes piano 24 3 March. Alla marcia – Poco meno mosso – Tempo I 2:58

Manchester Suite from ‘A City Speaks’ (1946) 14:47 25 1 Prelude. Maestoso 1:45 26 2 March. Alla marcia – Coda 3:48 27 3 Interlude. Allegro ritmico – Molto meno mosso – A tempo moderato 3:19 28 4 Scherzo. Vivace – Coda 0:56 29 5 Finale. Moderato – Tempo pesante – L’istesso tempo – L’istesso tempo – Broader – Meno – Maestoso 4:56 TT 77:33

BBC Philharmonic Yuli Torchinsky leader Rumon Gamba

6 Linda Darnell and Tab Hunter in a still from Saturday Island Canal+ George Baker in a still from The Ship That Died of Shame Canal+ The Film Music of William Alwyn Volume 4

Introduction to Remember, and Carve Her Name with William Alwyn was born in Northampton on Pride. This dedication to the art of writing 7 November 1905 and died in Blythburgh, film music was recognised in 1951 when Suffolk on 11 September 1985. He studied Alwyn was made a Fellow of the British Film at the Royal Academy of Music where, at Academy, the only composer until more the age of twenty-one, he was appointed recent years to have received this honour. He Professor of Composition, a position he also provided much music for both radio and would hold for nearly thirty years. Amongst television. his works are five symphonies, concertos for The 1950s was a particularly productive flute, oboe, violin, harp, and piano, various period for Alwyn, a decade in which he descriptive orchestral pieces, four operas, composed not only many works for the and much chamber, instrumental, and vocal concert hall (amongst which are three music. Alwyn contributed approximately 200 symphonies, concertos, an opera, chamber scores for the cinema, seventy of which are music, and instrumental music), but also feature films, the remainder documentaries. the music for forty feature films and several He began his career in this medium in the documentaries, and incidental music for documentary movement, in 1936, and along both radio and television. Of the forty feature with his fellow British composer Benjamin film scores, six are represented on this Britten (1913 – 1976) became something recording, along with four scores from the of a pioneer in the genre. In 1941 he wrote 1940s. All of them show to perfection Alwyn’s his first feature-length score, for Penn of supreme skill in providing music totally Pennsylvania. Other notable film scores attuned to subject matter which ranges from include the following: Desert Victory, Odd the dramatic to the exotic, from comedy to Man Out, The History of Mr Polly, The Rake’s the factual. In the many cases in which the Progress, The Fallen Idol, The Rocking Horse written scores have not survived, the music Winner, The Crimson Pirate, The Million Pound has had to be reconstructed by Philip Lane Note, The Winslow Boy, The Card, A Night from the soundtrack.

9 The Black Tent (1956) This particular film certainly fired the The Black Tent was the second of two composer’s imagination for, in total, Alwyn feature films directed by Brian Desmond composed some fifty minutes of music Hurst for which Alwyn composed the score. for it; this was unusual for him, for he was Amongst the cast are Anthony Steel, Donald never that keen on providing wall to wall Sinden, Anna Maria Sandri, André Morell, soundtracks, as was the general practice Donald Pleasance, Michael Craig, and Anton in Hollywood. His enthusiasm for the film Diffring. The screenplay was written by Robin prompted him to make more than one entry in Maugham and Bryan Forbes from a story by his diary, Ariel to Miranda, about the music, of Robin Maugham, which briefly runs as follows: which the following is an example, after having been wounded during the Libyan the score is original and full of beauty and campaign, in 1942, Captain David Holland blends romanticism with Arabian scale (Anthony Steel) wanders into a Bedouin tent patterns into an intricate web of sound and and is nursed back to health by Mabrouka a new orchestral texture. (Anna Maria Sandri), the beautiful daughter of From the score to this picture Philip Lane has Sheik Salem Ben Youseff (André Morell). They created a four-movement suite which runs fall in love and marry. However, David returns to as follows: fight the Germans with help from the Bedouins ‘Main Titles and Opening Scene’. A three-bar and is killed whilst attempting to save the life dramatic opening flourish heralds Alwyn’s of Sheik Salem Ben Youseff, never having had surging, pulsating Arabic theme, announced the chance to see his child, Daoud (Terence in the violins and punctuated by horns and Sharkey). Years after the war, Colonel Charles timpani, which plays over the credits. This Holland (Donald Sinden) is alerted to the truth leads to a more expansive lyrical theme in the by way of the discovery of his brother David’s strings, with lapping harp accompaniment, diary. Charles travels to Tripoli and then on which underscores the first scene, in which to the Bedouin tents to find his brother’s son the camera pans over a large country estate and offer him the chance to return to England (David Holland’s home). We see David’s to claim his inheritance. Having lived with his brother, Charles, walking in the grounds, mother’s family since birth and knowing of no and as a more ominous motif appears in the other life, Daoud chooses to stay amongst the trumpet (heard just before the end of the Black Tents. movement) the postman arrives and delivers

10 into Charles’s hand a letter, of surprising ‘In the Camp’. Having been wounded in contents: it transpires that it holds news about battle, David wanders into a Bedouin camp David’s life during the war. known as The Black Tents and collapses. ‘Arab Scene’. The second movement He is found by Mabrouka, daughter of the contains music which, as one would expect leader of the tribe, and she nurses him back from the title, depicts scenes set in the to health. Although she has been promised to Arabian desert: it accompanies the arrival Faris (Michael Craig), another man of the tribe, of Charles Holland in Tripoli and, then, his Mabrouka and David fall in love and marry. journey on to the Bedouin Tents with his The opening of this movement depicts the guide, Ali (Donald Pleasance). Here he meets marriage ceremony of David and Mabrouka, Sheik Salem Ben Youseff and Mabrouka, his Alwyn providing a gentle arabesque-like brother’s wife. Ali hands him his brother’s melody on the clarinet, accompanied diary which Mabrouka had secretly passed by harp and strings. This melody is then to him and in which David recounts his time passed to the violins for a more passionate living amongst the Black Tents. From then statement. An agitated section follows, on the film’s narrative is told in flashback. which underscores the entry of the Germans Alwyn here provides a hypnotic Arabian into the camp. They are looking for David, but theme, first announced in the oboes and cannot find him as Mabrouka has taken him accompanied by timpani, tambourine, tenor to some ancient ruins where he can remain drum, and cellos. The motif is developed, in safety. Besides, Ben Youseff has informed more woodwind instruments joining in. As the the German officer (Anton Diffring) that he clarinets introduce a nimble dance-like motif has killed David. The movement concludes the pace quickens. The strings enter the fray with an astringent fortissimo figure in the and reach a passionate outburst, later joined orchestra, followed by a chordal statement by the woodwind. A slightly quicker tempo in the horns and trumpets, accompanied introduces a rocking theme in the oboe (a by tremolo strings and percussion, which variant of it appears in the slow movement of ultimately fades to pianissimo. the Third Symphony, on which Alwyn was also ‘Nocturne and Finale’. Alwyn applies a working at the time of The Black Tent). After mysterious impressionistic palette to the more instruments join in, the music reaches a music that constitutes the opening section brief climax, then subsides to a quiet close. of the last movement, highlighting it with

11 muffled and eerie flutes, vibraphone, and released in 1944. In addition to Clive Brook, snatches of a string motif. It accompanies amongst the cast are Beatrice Lillie, Googie the scene in which David, only half-conscious Withers, Roland Culver, and Marjorie Rhodes. and slowly recovering, first glimpses the The story, based on Frederick Lonsdale’s lovely Mabrouka who is tending his wounds. popular play On Approval, was set in the early A more sinister motif is heard in the second 1920s and tells of the efforts of two couples violins, violas, and cellos as Sheik Salem to spend a month together housekeeping in discovers David’s gun. There follows a a remote part of Scotland. Adapting the play, plaintive melody on the oboe, accompanied Clive Brook decided to set the story in the by strings and harp, which underscores the 1890s, when it would have had more impact scene in which Mabrouka brings refreshment as being daring and shocking than at the and food to David to aid his recovery. A solo time the film was made. He then engaged viola, warmly accompanied by the strings, the famous British newsreel commentator depicts the beginning of the romance that E.V.H. Emmett to guide the audience from is to develop between the two lovers. The World War II to the long-ago fashions and music of the last section of the movement mores of the late Victorian era: this sequence underscores Daoud and his decision to provides a contemporary (1943) and amusing stay with his mother and grandfather, prologue to the main action of the story. despite the possibility of a grander and From Alwyn’s highly appropriate frothy and richer life in England. Here Alwyn introduces humorous score, Philip Lane has fashioned a a warm, romantic theme in the strings, short suite in four movements: which is immediately followed by a brief ‘Title Music’. Three sharp notes from the fortissimo coda scored for brass, strings, and horns usher in vivacious descending scales percussion, music that in the film plays which lead immediately to the sprightly over the closing credits. main theme, in polka time. This segues to a charming Victorian waltz which plays to the On Approval (1944) end of the main titles sequence. How well The British light comedy On Approval, directed Alwyn conjures up the mood of the period and produced by Clive Brook, who also within this very short opening sequence! starred in the male lead, was made for English ‘Polka’. The effervescent ‘Polka’ plays Films, Independent Producers, in 1943 and during the ballroom sequence at Bristol

12 House, a large Victorian mansion. Here, are Errol Flynn, Roger Livesey, Anthony Steel, George, Tenth Duke of Bristol (Clive Brook), for Beatrice Campbell, Yvonne Furneaux, and the first time discusses with Maria (Beatrice Felix Aylmer. The story tells of the exploits Lillie) the idea of a holiday away together, ‘on of a highland rebel in flight from the British, approval’! and of his adventures in the West Indies ‘Proposal Waltz’. A lilting waltz with a band of pirates. The date is 1745. In accompanies George’s proposal to Helen order to preserve the family fortune, two (Googie Withers) whilst she and George walk noble Scottish brothers, James Durie (Errol in the gardens of Bristol House. Flynn) and Henry Durie (Anthony Steel), ‘The Lancers’. The music of this movement, deliberately take opposite sides when Bonnie played during the ballroom sequence at Prince Charlie returns to claim the throne Bristol House, is a square dance, a variant of of Scotland. James Durie is assisted in his the quadrille, which is a set dance performed various exploits by an Irish Rogue Colonel, by four couples, particularly popular during Francis Burke (Roger Livesey). Philip Lane has the eighteenth and nineteenth centuries. assembled a suite of three movements from During this sequence, discussions continue the film’s score. about a joint holiday away. The jovial, light- ‘Main Titles’. After a short introduction, hearted piece brings the suite to a joyful opening fortissimo with a horn motif, closely conclusion. followed by a similar motif in the trumpets, then four dramatic chords in the full The Master of Ballantrae (1953) orchestra, Alwyn’s expansive lyrical theme The Master of Ballantrae was the second of bursts forth. It plays over the main credits, two pictures that Alwyn scored for Warner which are superimposed over a view of Brothers. As in the first picture, The Crimson the castle at Ballantrae and its impressive Pirate (1952) (a suite from which is available surroundings. on The Film Music of William Alwyn, Volume 2 – ‘Jamie and Alison’. The quiet, reflective CHAN 9959), Alwyn found himself composing music of this movement underscores the the music for a swashbuckler. The film was romantic scenes between Jamie and Alison directed by William Keighley and the script (Beatrice Campbell). Eventually, after many was written by Herb Meadow from the novel mishaps, the couple makes a life together. by Robert Louis Stevenson. Amongst the cast Gossamer pianissimo tremolandi in the violins

13 Canal+

George Baker in a still from The Ship That Died of Shame and violas accompany Alwyn’s gentle theme, Dahl, Dennis Price, Bernard Miles, and Ian first announced by the cor anglais, which Hunter. The story concerns a married woman, leads to a warmer, romantic statement of Sarah Moreton (Arlene Dahl), who runs into a the theme in the violins, accompanied by the former boyfriend, the insurance investigator rest of the orchestra. A brief coda follows – in Oliver Branwell (Jack Hawkins), in the line which the opening statement reappears, of his business. When her husband, Tracey this time played by three horns, again Moreton (Dennis Price), dies in a fire, the accompanied by pianissimo tremolandi violins two rekindle a relationship that had ended and violas – to bring this charming movement abruptly. Eventually, murder, arson, and to a hushed close. blackmail threaten to consume them both. ‘Spanish Dance’. Having been captured From the written full score – which, unlike by pirates, and then joining sides with an the majority of the scores on this disc, has opposing group of pirates, Jamie and the miraculously survived! – Philip Lane has shady crew arrive at Tortuga Bay in the West extracted four cues to form a cohesive Indies. This lively and colourful movement, whole, which he has given the title ‘Prelude’. scored for full orchestra, accompanies the After a three-bar declamatory opening exotic dance of a West Indian girl named motif, which begins in the horns, a broad Marianne (Gillian Lynne who is uncredited in romantic theme is stated in the strings, the film). accompanied by pulsating horns and timpani, and embellished by arpeggiated harp chords; Fortune Is a Woman (1957) this music plays over the main title sequence. The crime / fraud drama Fortune Is a Woman After a passionate climax and subsequent was a John Harvel Production released drop in dynamics, a calmer version of the through Columbia Pictures Corporation in theme, first stated on the oboe then passed 1957. It was the fifth and final collaboration to the cellos, depicts the romantic scenes between William Alwyn and the director of Oliver and Sarah together, travelling by Sidney Gilliat. The screenplay, by Sidney car not far from Louis Manor where Sarah Gilliat and Frank Launder, was based on an lives with her husband. A more dramatic and adaptation by Val Valentine of the novel agitated passage follows as they begin their Fortune Is a Woman by Winston Graham. journey back to the manor. This is followed by Amongst the cast are Jack Hawkins, Arlene a gentler version of the main theme – stated

15 again on the oboe, after which it is taken eeyah eeh-oh...’. For this recording Philip Lane up by the strings – which accompanies has arranged the piece for soprano, harp, the couple’s drive through the grounds of and strings and it proves to be a haunting the imposing residence. A more sinister, evocation of what one might imagine hearing descending chromatic figure appears in the from a mermaid’s dwelling place far beneath strings and wind, with a rising motif in the the ocean. brass embellished by harp and vibraphone, as we get a view of the manor, the music Saturday Island (1952) foreshadowing the unfortunate drama that Made in 1952 by Coronado Productions and is to beset the manor house and its owner. released through RKO Pictures, Saturday Playing fortissimo over the end credits, the Island was directed by Stuart Heisler, on a final bars of the ‘Prelude’ restate the opening screenplay by Stephanie Nordli, adapted theme in a quicker tempo. from the novel of the same name by Hugh Brooke. The action takes place during 1943 Mermaid’s Song (1947) in tropical seas, where a troopship carrying The ‘Mermaid’s Song’ was intended for sick and wounded from the Far East hits a the 1947 Gainsborough picture Miranda magnetic mine, the ensuing explosion forcing which starred Glynis Johns as the mermaid. the crew to abandon ship. A young marine, Originally, Michael Chorlton was to direct, Corporal ‘Chicken’ Dugan (Tab Hunter), and but he was replaced by Ken Annakin, and the more mature Nurse Elizabeth Smythe subsequently the scoring assignment went (Linda Darnell) survive, and manage to make to Temple Abady. The film, scripted by Peter their way to a deserted island. In the course Blackmore from his play, is a comedy about of several months alone they fall in love; then the havoc caused by a mermaid brought back the arrival of an RAF pilot, William (Donald from holiday by a Harley Street doctor after Gray), having survived a crash-landing onto she threatens to keep him in a cave unless he the island, complicates matters. After nearly takes her sightseeing. In the Alwyn Archive two years they are rescued; Elizabeth and there resides a manuscript score for voice William marry and Dugan returns to the and piano or harp of ‘The Mermaids [sic] marines. From the score to this film Philip Song’. The song is a vocalise consisting of Lane has adapted a few short cues and a sequence of vowels: ‘ee-oh eeyah, ee oh, entitled the piece ‘Prelude’. The main title

16 credit sequence, picturing an exotic island in goes to Dublin to study and comes under the background, opens fortissimo with trilling the influence of his professor, Sean Lenihan woodwinds, quickly followed by a surging (James Cagney), who is secretly the leader brass motif that leads directly to a highly of an IRA terrorist group engaged in a fight lyrical, expansive theme in the strings. This against the hated Black and Tans. O’Shea is followed by a more mysterious sequence gradually becomes involved in a series of in which vibraphone, harp, celesta, and violent battles, but is ultimately sickened by violas accompany the main tune, now on all the killing and puts an end to it by killing oboe, but in a minor key. This short sequence Lenihan. From the score to this film Philip accompanies the scene in which Dugan and Lane has compiled a six-movement suite. Elizabeth discover a wrecked boat containing ‘Dublin 1921’. In the opening main titles the body of a previous casualty, Grimshaw sequence Alwyn immediately sets the mood (John Laurie), from whose surviving diary of unrest, and of the tragedy to follow, with they learn of his life on the island. A repeat a nervous fortissimo five-note figure in the of the main title theme leads to an exultant woodwind and strings, which is punctuated ending. by brass and percussion; we see the Black and Tans in the midst of a gun battle. As the Shake Hands with the Devil (1959) backdrop changes to a picture of a hand The Irish-themed thriller Shake Hands with reaching for a gun, a slower, melancholic the Devil, made in 1959, was a Troy Films melody in the strings and oboe begins, Production, directed and produced by underpinned by an insistent rhythm on the Michael Anderson, and was shot at Dublin’s tenor drum. In the following scene the young Ardmore Studios and on location. Amongst medical student Kerry O’Shea places flowers the cast are James Cagney, Don Murray, Dana on the grave of his parents. A muted trumpet Wynter, Glynis Johns, Michael Redgrave, figure enters and a voice-over (Eamon Sybil Thorndike, Cyril Cusack, and Richard Andrews, uncredited) explains the conflict Harris. The screenplay was adapted by between the IRA and the Black and Tans. The Marian Thompson from the novel of the same movement closes with a soft rendition of the name by Rearden Conner and can be briefly melancholic melody, the accompaniment by a summarised as follows: A young American tolling bell and timpani underscoring a funeral medical student, Kerry O’Shea (Don Murray), procession. This procession is interrupted by

17 the Black and Tans and the funeral bearers interjections in the brass and strings, a muffled scatter, the coffin crashing to the ground and tremolando pattern in the second violins breaking open only to reveal not a body but an and violas commences, leading to a rising arsenal of weapons. scale passage in the violins, which brings the ‘People of Erin’. The second movement, movement to an unsettled close. scored for strings alone, in which the ‘Professor Sean Lenihan’. The title of the principal melody, played softly by the violas, fourth movement is somewhat misleading, incorporates the Irish song ‘Eileen Oge’ by Percy as the music has nothing at all to do with French and Houston Collison, accompanies Sean Lenihan, but it is the title employed a scene in which O’Shea has been taken on the original soundtrack LP. The music to the rebels’ farm hideout. He walks up a accompanies a love scene between O’Shea hill overlooking the sea to join one of his and Jennifer Curtis (Dana Wynter) at the top associates, Chris Noonan (Cyril Cusack), and of the lighthouse. Curtis, daughter of a British during their conversation, Noonan reveals that military advisor, has been captured by the he is a professional writer of Gaelic poetry, thus rebels who hope that the British will release laying bare a more human side of his nature. the rebel sympathiser Lady Fitzhugh (Sybil ‘The Black and Tans’. Opening fortissimo Thorndike) in exchange for her. The main theme, with the edgy woodwind figure heard in softly intoned by solo violin and accompanied ‘Dublin 1921’, the music of the third movement by the strings, underscores the couple’s accompanies the scene in which the rebels first kiss. After a climax, a more sinister motif pose as British soldiers in order to rescue appears and the movement ends with a short, the badly beaten O’Shea, held captive by the menacing figure in the woodwinds. O’Shea Black and Tans in a lighthouse. When the real realises that Jennifer has just used him in the British soldiers arrive, however, the rebels are hope that he will help her escape, but still feels exposed. Be that as it may, O’Shea is rescued that she is attracted to him. and a quieter, slower section ensues; we see ‘Trouble’. A sombre funeral march, played Lenihan questioning the injured man in the by the strings and punctuated by the timpani, back of a lorry as they furiously steer past an gradually builds to a menacing climax at which enemy vehicle. On learning that O’Shea has the main theme, now doubled in the horns, not given anything away to the British, Lenihan is hammered out, imbuing the march with smiles to himself. After some loud agitated an almost Mahlerian aura. Lenihan has now

18 Tab Hunter and Linda Darnell in a still from Saturday Island Canal+

19 heard that Lady Fitzhugh, as the result of a Balcon Production for Ealing Studios, directed hunger strike while imprisoned, has died. In by Basil Dearden. The screenplay, by John retaliation he decides that he must execute Whiting, Michael Relph, and Basil Dearden, Jennifer Curtis. As Lenihan leads Jennifer was adapted from a short story by Nicholas outside to shoot her, O’Shea arrives, just in Monsarrat (author of The Cruel Sea). Amongst time to divert Lenihan from his task. the cast are Richard Attenborough, George ‘Rebel to the End’. Beginning pianissimo Baker, Bill Owen, and Virginia McKenna. The with sustained notes in the double-basses story takes place during the bleak aftermath and trumpets, over which three short of the Second World War. To make ends meet, accented notes from the remaining strings a crew of navy veterans, George Hoskins and horns are intoned, the music of the (Richard Attenborough), Bill Randall (George last movement admirably sets the mood Baker), and Birdie Dick (Bill Owen), along for the troubled ending to the film. Crying with their boat, named 1087, are forced into out vociferously, O’Shea accuses the now smuggling black market goods across the deranged Lenihan of killing for the sake English Channel. Trafficking in the fairly of killing and of having lost sight of the harmless fare of alcohol and tobacco soon cause. The other rebels have come round to leads to handling the more dangerous and favouring the recently offered peace treaty, financially rewarding cargo of automatic of which Lenihan wants no part. A short forte weapons and counterfeit money. The drama ascending scale in the violins underscores comes to a head when it turns out that a the moment when, to prevent him from killing mysterious stranger, whom they have been Jennifer, O’Shea shoots Lenihan. A soft string asked to smuggle into England, hides a passage begins as Lenihan falls to the ground dark and harrowing secret, and one of the and dies, and O’Shea throws his gun onto the crew is unable to turn a blind eye to it. The beach, thus severing his association with the story also underlines the ironic demise of a IRA. As the tide laps over the gun the sombre once heroic boat which, having triumphed main theme returns and the end credits roll in many wartime confrontations, has now over a view of the ocean. been reduced to one of cheap smuggling escapades. The Ship That Died of Shame (1955) Over the ‘Main Titles’ (the score to which The Ship That Died of Shame was a Michael has survived), the ocean and the stern of the

20 boat 1087 visible in the background, Alwyn’s the British public. However, she has a rival, broad, majestic theme is announced fortissimo named Jim Molleson (Robert Newton), who in violins and flutes; it is underpinned by a after meeting her falls in love with Amy. They pulsating figure in the clarinets and horns, marry, but Jim has a serious drinking problem punctuated by the remaining brass, timpani, and this, coupled with his feeling of being harp, and percussion. A drop in dynamics overshadowed by the fame of his wife, takes leads to a melody in the bassoon, cellos, and a serious toll on the marriage; it eventually basses, accompanied by shimmering violins ends in divorce. Amy continues to make and a liquid harp pattern. After a brief climax record-breaking flights but, sadly, when her dynamics drop suddenly once more, and plane suffers engine failure while flying over over a sustained high note in the violins a open water she is forced to bail out of it and is voice-over begins to prepare the audience for drowned. what is to follow. The cue closes pianissimo From the score to this film Philip Lane has with descending phrases on the violins, compiled a short suite in three movements accompanied by a muffled bass drum that which segue from one to the other. The main abruptly breaks off. theme, which you will hear throughout all three movements, is subjected to various They Flew Alone (1941) treatments as befits the action on screen. They Flew Alone was Alwyn’s second ‘Prelude’. The main titles, superimposed over feature film assignment, following Penn of cloudy skies, commence with a brief fortissimo Pennsylvania (a suite from which you will find brass fanfare which immediately leads into a on The Film Music of William Alwyn, Volume 3 – highly romantic, soaring melody stated in the CHAN 10349). The film was made for RKO Radio violins. Towards the end of this movement, Pictures and produced and directed by Herbert dynamics decrease and a gentle variant of the Wilcox. The scenario and screenplay, based theme, in the strings accompanied by harp, on the story by Viscount Castlerosse, were takes us to the first scene, in which we see written by Miles Malleson. The story concerns the exterior of the Yorkshire home of Amy’s the life and career of the famous aviatrix Amy parents, the Johnsons. Johnson (Anna Neagle) who during the 1930s ‘Nocturne’. The gentle romantic ‘Nocturne’ made record-breaking solo flights around the has been arranged for piano and orchestra. world and captured the hearts and minds of In the film a part of this music is heard as

21 Canal+ in astillfrom The ShipThat DiedofShame Richard Attenborough andGeorgeBaker Randall Hodgkinson

Christian Steiner a piano solo, performed in the Johnsons’ concerned the documentary film A City home by Amy’s mother, a musical sequence Speaks is pivotal in that it introduced Alwyn which is reprised later in the film’s narrative. to the conductor John Barbirolli who would The main tune is stated by the piano, over become not only a good friend, but a firm a cushion of warm strings. The melody is supporter of his music, giving the premiere then taken up mezzo-forte by the strings, of many of his works. On the soundtrack underpinned by chords on the piano, Barbirolli conducts the Hallé Orchestra, and woodwind, and brass. The music reaches an later in the film they make an appearance orchestral climax accompanied by decorative performing Wagner’s ‘Ride of the Valkyries’. arabesques in the piano, but comes to a The film was directed by the celebrated tranquil close. This is quickly followed by documentary filmmaker Paul Rotha for Films a rhythmic side-drum pattern which leads of Fact, Rotha’s own production company. It directly into the last movement. was commissioned by the Manchester City ‘March’. The music featured in this Council during the early years of the Second movement is heard towards the very end of World War, filmed during 1945 – 46, and given a the film, shortly after Amy’s death, as we see, general release in 1947 as Manchester’s Civic superimposed over the ocean, an apparition Film, A City Speaks. The film depicts scenes of of Amy delivering a stirring eulogy. This is contemporary life in Manchester during times followed by a montage of newsreel footage of of work and leisure; describes how the Council the Women’s Services. Here the main theme, will address poor housing conditions, making first stated mezzo-forte by the clarinets over comparisons between earlier times and the a repeated descending figure in the cellos present day; demonstrates how the city has and double-basses, appears in military guise. been transformed over many years; and looks After a fortissimo climax the strings give a to the future by way of the redevelopment of softer rendition of the theme. Momentum the City. gathers and the main theme, played rousingly This particular film scoring assignment by the full orchestra, blazes forth to arrive at differed from the norm in that Alwyn a grandiose coda. composed a five-movement work for orchestra first (the manuscript of which still Manchester Suite from ‘A City Speaks’ (1946) survives), which was then presented to the As far as his composing career was director for placement in the film. The normal

23 practice was of course that music would be of fir trees. With further rural scenes the supplied when the film had been completed. movement draws to a close, a pianissimo Manchester Suite, in five movements, was phrase on the trombones and trumpets, premiered on 30 November 1947 at the King’s accompanied by high strings, leading to a Hall, Belle Vue, Manchester by the Hallé pianissimo chord in the violas, cellos, and Orchestra conducted by John Barbirolli. It basses. runs as follows: ‘Scherzo’. A gossamer scherzo, its ‘Prelude’. As the main titles commence a principal motion provided by the woodwind, timpani and percussion roll herald a solemn, depicts Manchester at play, the citizens of stately melody presented forte by the horns. the City enjoying recreational activities. A This is then partially repeated fortissimo by the robust theme in the cellos accompanies full orchestra. A drop in dynamics leads to a scenes of people pouring out of their offices tranquil coda in the strings. and factories, additional scenes showing ‘March’. A brisk march, in which flutes, the fire service and laundries in action. oboes, and violins provide a light-hearted This scurrying movement ends almost in a theme underpinned by a stately melody in the whisper. clarinets, bassoons, and violas, accompanies ‘Finale’. A side-drum roll introduces a short scenes of workers leaving their factories for phrase in the horns, repeated in the flutes, home, busy printing presses, and general oboes, and trumpets, which usher in the scenes of industry in full swing. The March cellos, then the violins, in a rising pattern. concludes with triumphant panache. To this accompaniment we see a model of ‘Interlude’. A lively, bustling figuration what Manchester will be like in the future. accompanies scenes of the gas and The commentary emphasises the pride electrical industries, which are followed by which Manchester takes in her workmanship. a calmer and quieter section in which flutes, A broader theme in the full orchestra is oboes, and clarinets, trumpets, celesta, followed by a quieter section in which we and harp take us out of the city and into the first see shots of the hospital, then the open countryside. A warm, romantic theme slums, the commentary remarking that ‘this appears in the strings as the camera pans is our new fight, and the very foundation of across a reservoir. A gentle solo violin melody happiness should be free to all... the lessons accompanies a hillside view and the planting of yesterday shall not be forgotten for our

24 plans for tomorrow’. As an aerial camera pans schools and the local community. Working over the city the solemn, stately melody first closely with the Council and other partners, heard in the ‘Prelude’ returns mezzo-forte in including the Royal Northern College of Music, the horns over a sustained chord in the strings. Salford University, and Greater Manchester A brief fanfare in the trumpets and trombones, Music Hub, it supports and nurtures emerging punctuated by side drum, heralds a complete talent from across the North West. statement of this melody, played fortissimo by The BBC Philharmonic is led by its Chief the full orchestra, which leads to a dramatic Conductor, Juanjo Mena, whose love of large- and majestic conclusion. As the final few bars scale choral works and the music of his home sound, we see a shield bearing a dedication to country, Spain, has produced unforgettable the citizens of Manchester. performances in the concert hall and on disc. Its Principal Guest Conductor, John Storgårds, © 2017 Andrew Knowles recorded a Sibelius symphony cycle with the orchestra in 2013 to much critical acclaim. A broadcasting orchestra based in Salford, the The distinguished Austrian HK ‘Nali’ Gruber is BBC Philharmonic performs at The Bridgewater Composer / Conductor and led the orchestra Hall, Manchester, tours the North of England, in a residency at the Wiener Konzerthaus and welcomes audiences in its recording in 2013. Its former principal conductors studio at MediaCityUK. It gives more than a Gianandrea Noseda and Yan Pascal Tortelier hundred concerts each year, nearly all of which also return regularly. Internationally are broadcast on BBC Radio 3, the BBC’s home renowned, it frequently travels to the of classical music. It also appears annually at continent and Asia, where the dates which the BBC Proms. Champion of British composers, had been cancelled when a tour of Japan was the orchestra works with world-class artists cut short by the catastrophic earthquake from a range of genres and styles, and in 2014 and tsunami in 2011, were completed in 2014. revived BBC Philharmonic Presents, a series Having made more than 250 recordings with of collaborations across BBC Radio stations, Chandos Records and sold around 900,000 showcasing its versatility and adventurous, albums, the BBC Philharmonic, along with the creative spirit. It is supported by Salford City remarkable pianist Jean-Efflam Bavouzet and Council, which enables a busy, burgeoning conductor Gianandrea Noseda, won the 2014 Learning and Outreach programme within Gramophone Concerto Award.

25 The British-born conductor Rumon Gamba held Musikgesellschaft Basel, and Residentie the positions of Principal Conductor and Music Orchestra The Hague. Director of NorrlandsOperan between 2008 A champion of new music, he has given and 2015 and Chief Conductor of the Aalborg several high-profile premieres. Following his Symfoniorkester between 2011 and 2015. successful opera debut conducting Candide Having studied with Colin Metters at the Royal at English National Opera, he returned in Academy of Music, where he was appointed spring 2011 for the world premiere of Nico Associate in 2002, he became the first ever Muhly’s Two Boys. He has conducted national conducting student to receive the DipRAM. premieres of Poul Ruders’s Dancer in the Dark He subsequently became Assistant and then and Mark-Anthony Turnage’s Blood on the Floor Associate Conductor of the BBC Philharmonic, and Scherzoid, the world premiere of the Viola remaining there until 2002; his continuing Concerto by Brett Dean, with the composer work with the BBC orchestras has included as soloist with the BBC Symphony Orchestra, several appearances at the BBC Proms. He and the Australian premiere of the original has worked with orchestras worldwide, version of Sibelius’s Symphony No. 5, with including the London Philharmonic Orchestra, the Queensland Symphony Orchestra. As an Orquesta Nacional de España, Orquesta exclusive Chandos artist, Rumon Gamba has Sinfónica de Galicia, WDR Rundfunkorchester made numerous recordings, including several Köln, Das Berner Symphonieorchester, award-winning and Grammy-nominated CDs in Auckland Philharmonia Orchestra, Allgemeine the acclaimed Chandos Movies series.

26 Also available

Alwyn Alwyn Film Music, Volume 1 Film Music, Volume 2 CHAN 9243 CHAN 9959

27 Also available

Alwyn Film Music, Volume 3 CHAN 10349

28 You can purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Royalties Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

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Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

This recording was made with financial assistance from The William Alwyn Foundation.

Executive producer Ralph Couzens Recording producer Mike George Sound engineer Stephen Rinker Assistant engineer Owain Williams Editor Rosanna Fish A & R administrator Sue Shortridge Recording venue MediaCityUK, Salford; 21 and 22 January 2016 Front cover Artwork by designer Back cover Photograph of Rumon Gamba by Andreas Nilsson Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen Publishers Warner Chappell Music / The William Alwyn Foundation (Suite from The Master of Ballantrae), The William Alwyn Foundation (other works) p 2017 Chandos Records Ltd c 2017 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

30 © BBC Philharmonic / Sussie Ahlburg BBC Philharmonic,withitsChiefConductor, Juanjo Mena,atMediaCityUK THE FILM MUSIC OF WILLIAM ALWYN, VOL. 4 – BBC Philharmonic / Gamba CHAN 10930

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