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John Morgan Widely regarded in film-music circles as a master colourist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, and has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. William Stromberg A veteran film composer, conductor and film archivist, William Stromberg, working with famed film music reconstructionist and composer John Morgan, has conducted numerous albums of film music for RCA, Naxos, Marco Polo and, most recently, Tribute Film Classics. Upcoming albums include the complete scores to Bernard Herrmann’s Mysterious Island, Max Steiner’s She and Herrmann’s The Kentuckian. Moscow Symphony Orchestra Founded in 1989 as the first independent orchestra in modern Russia, the Moscow Symphony Orchestra maintains a busy schedule both in the concert hall and recording studio. For more than a decade, it has become noted for its pivotal role in a long-running series of recordings devoted to classic film scores conducted by Hollywood composer William Stromberg. Their most recent collaboration was the complete film score for Erich Wolfgang Korngold’s The Sea Hawk (Naxos 8.570110-11).

From left to right: Recording engineers Vitaly Ivanov and Edvard Shakhnazarian, conductor William Stromberg and arranger John Morgan

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Alfred Newman (1901–1970) talent (and his rare ability to recognise such talent), his reflect the almighty influence of the church in Hunchback long-standing belief in teamwork at all times and, finally, and even employed its choral version for the main title. Music for the films his devotion to doing whatever was right for a picture, While Fred Steiner was later prompted to laugh good- and doing it on time. Certainly, the practice of studio naturedly at the utter incongruity of using this particular The Hunchback of Notre Dame 1939 composers and arrangers working together in such Ave Maria — after all, The Hunchback of Notre Dame is Score restoration/reconstruction by John Morgan fashion, and always under the watchful eye of the music set a century before Victoria flourished — the film music director, was hardly unique in the 1930s and 1940s. “To scholar agreed it fit the picture perfectly. So does the text, Beau Geste 1939 the contrary, it was quite typical of the time,” William which wonderfully mirrors much of what poor Esmeralda Score reconstruction by William Stromberg Rosar said. “Newman routinely got help from others, but herself prays for in the film: “Holy Mary, Mother of God, the scores were still, by and large, his work.” Of hearty pray for us sinners now and at the hour of our death. All About Eve (Suite) 1950 collaborations in the realm of film music, Fred Steiner Amen.” (Hugo Friedhofer, ever the wit, once quipped has added knowingly: “It didn’t just happen in the 1930s, that the perfect score for The Hunchback of Notre Dame Of all the talented, groundbreaking composers who busied and 1950s — literally and figuratively. Although he wrote ’40s and ’50s, either. In fact, it’s still going on today!” should be “quasi-modal.”) themselves during Hollywood’s golden age, Alfred in a richly romantic idiom that owes much to Richard Happily, such matters need not keep one from Critics have praised RKO’s The Hunchback of Notre Newman was perhaps the most powerful, most influential Strauss, Newman shaped it in such a successful manner enjoying this masterful score — and the score did prove Dame as one of the finest examples of studio expertise and certainly most insightful. Yet, for all the praise that many other composers in Hollywood quietly adopted winning, beginning with executives at the top. One of ever. The studio system was one Newman thrived in, lavished on his vast work as a composer, conductor and similar stylistic tendencies (though precious few Arthur Morton’s happiest memories in the business most significantly during his twenty years at 20th administrator, Newman has received scant attention in succeeded in furnishing scores that functioned as well as involves Newman at one point sitting down at a piano on Century-Fox. Tellingly, after that system fell into decay the recent spate of film-music re-recordings. At least one his). Today long-dead film composers with particularly an empty sound-stage and performing the score’s most at the end of the 1950s (hastened by a disastrous reason involves the films he scored. Many were top-flight individualistic styles — Erich Korngold, Bernard infectious themes for RKO producer Pandro S. Berman musicians’ strike), Newman left 20th Century-Fox rather productions in their day, but they now lack the Herrmann, Dimitri Tiomkin and Max Steiner spring to and his secretary. “And they swooned,” Morton recalled. than preside over further gutting of its music department. enthusiastic, faithful followings boasted by Warner Bros.’ mind — cannot help standing out against the standard so “Now, Alfred, being an astutely pragmatic man, played In the decade that followed, he continued to show vivid Errol Flynn swashbucklers and Humphrey Bogart film- firmly set by Newman from his perch as music director that lovely theme for Esmeralda over and over, that and talent in such scores as The Greatest Story Ever Told, noir classics, Universal’s vintage monster movies and the at 20th Century-Fox. This may well be why their music the poet’s soul theme. Alfred was a great salesman. You How the West Was Won and Airport, though friends such special effects-packed Ray Harryhausen spectaculars. — so different from that Hollywood norm — is also given know, I don’t think anyone was better suited for film as Fred Steiner note he continued to lament the passing of “What attracts so many people isn’t just the music but more attention today. In any case, the neglect Newman’s music than Alfred.” those days when studio music departments thrived and the film itself,” conductor and composer Fred Steiner, film music experiences is unwarranted, especially And despite the fact Newman had earlier scolded often triumphed, even in the face of crushing deadlines foremost expert on Newman’s music, lamented in 1996, considering such soaring, swashbuckling scores as Morton for temp-tracking the film with classical pieces, and musically ignorant studio heads. more than a quarter-century after Newman’s death. Captain from Castile (1947) and Prince of Foxes (1949), Newman shrewdly zeroed in on Morton’s wonderful “Some of the films Alfred Newman scored then don’t religious dramas such as The Song of Bernadette (1943) notion of using the last part of Victoria’s Ave Maria to Bill Whitaker, 1997 have drawing power today. Wuthering Heights may be and The Robe (1953) and gargantuan epics such as The OK, but whoever heard of Beloved Enemy? It’s not like Hunchback of Notre Dame (1939). the popularity of The Adventures of Robin Hood or Gone Considering the huge number of films Newman scored A loud and joyous ringing of bells in thanks to the many individuals and organizations with the Wind. Of course, then again, the last thing we all and the quality he sustained till his death in 1970, it’s making this recording possible … need is another re-recording of Gone with the Wind!” remarkable he approached composing with such Mark Frisbie, Ned Comstock (University of Southern California), Brigitte J. Kueppers (UCLA Research Library), One can also argue that Alfred Newman’s wonderful reluctance. Yet he did. “Newman worked on a total of Ray Faiola, James V. D’Arc, Mary Jo Menella (20th Century-Fox), Karen Smith (Jo Ann Kane Music), Frederick scores have been handicapped by the very fact he so 225 films and toward the end admitted that it was too Steiner, William Rosar, David Schecter, Kathleen Mayne, Bourne Music Publishers, Bob Burns, Tony Thomas, effectively set the tone for much film music of the 1940s much to have done,” author, producer and long-time Clifford McCarty, Ann Whitaker and Arthur Morton. 8.570187 2 11 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 10

Toch or was it dictated to Toch by Newman for further army of talented orchestrators. Clifford McCarty’s tireless Newman friend Tony Thomas wrote in Film Score: The officer dealing with depression and despair among World development, as was custom then? And did Newman later research on score materials shows that, just in the first View from the Podium. “As a conductor, he was probably War II bomber crews — and shrewdly opted to score as rework Toch’s sketch for inclusion in the film, enough so part of the score, Powell handled the main title, In the the finest ever to work in films. It was what he most loved little as possible. (One of the few sequences was a that it became a piece owing far more to Newman than King’s Box and Esmeralda’s Dance, Bennett (a talented to do, and the many who played under his baton claim that reworking of friend and colleague Hugo Friedhofer’s Toch? Although some bars in the sketch usually credited but ridiculously neglected composer in his own right) had circumstances been different, he would most likely effectively nightmarish bomber music from The Best to Toch reportedly echo the Hallelujah heard so worked on The Gypsies, Conrad Salinger tackled The have been an outstanding symphonic conductor. Despite Years of Our Lives just three years earlier.) gloriously in the film, Steiner has noted that the final Festival and Leonid Raab took The Dance of Death (the his talent as a composer, he did not enjoy the work of Even when Alfred Newman was sparing in his scoring version in the film shows significant changes. Until firm latter serving as musical accompaniment for a play sitting and inventing music. A most gregarious man by of a film, the efforts were frequently memorable. No film evidence surfaces concerning authorship one way or the mounted during the festival). Salinger and Raab are nature, the loneliness of composing disturbed him, and he proves this better than All About Eve (1950), a classic other, efforts to wholly or even partially credit Ernst Toch credited with much of the arranging on the Notre Dame admitted he often sat for hours looking at blank music about a middle-aged, somewhat insecure actress, her for the Hallelujah are, to hear Fred Steiner, “pure battle sequence, and Steiner says he would not be at all paper before being able to write a note.” In an interview deceitful, conniving protégée and New York’s gossipy, speculation.” That notwithstanding, Toch’s grandson surprised if Bennett contributed much creatively to it. As on occasion of the recording at hand, veteran film-music intrigue-filled theatre world. Newman’s decision to limit Lawrence Weschler again credited his late grandfather for the carnival sequence’s “Festival of Fools,” with all its orchestrator Arthur Morton echoed this insight concerning his scoring is understandable enough. With crisp script- with writing the Hallelujah in a piece published by visceral tonalities, Steiner has said while Newman seldom Newman’s immense talents at the podium, though he also writing and taut direction, both by Joseph L. Mankiewicz, Atlantic Monthly in December 1996, suggesting that, wrote music in that style, he was hardly a stranger to outlined certain preferences: “He was reluctant to do and wonderful ensemble acting from a spunky cast that among the Toch family anyway, authorship of the cue is pungent polytonalities in the late 1930s (and, for what anything outside the studio. When he went to conduct at included Bette Davis, Anne Baxter, Gary Merrill, Hugh a foregone conclusion. it’s worth, the cue was revised and used in Newman’s the Hollywood Bowl, I remember he was a nervous Marlowe and, as a newspaper critic with a sharp pen and Toch’s depth of involvement in The Hunchback of sterling score for Prince of Foxes a decade later). In fact, wreck. But inside the studio, in front of an orchestra — tongue to match, George Sanders, anything more from Notre Dame has long tantalized researchers, even while Newman maintained a friendship with composer Arnold and, let’s face it, 20th Century-Fox had the best — he 20th Century-Fox’s music department might have been works known for certain by Toch have gone unperformed Schoenberg — one that developed to the extent Newman, was an absolute master. He loved conducting and he was overkill. (It is certainly a lesson the film’s Margo for years. Studio violinist Louis Kaufman, in a lively 1992 in a gesture of personal and professional admiration, in good at it.” Channing could have heeded in the celebrated party scene interview with Matthias Budinger, was among those to 1936 sponsored and produced the very first integral Despite his admitted dread of composing, and despite where she demands her pianist perform Liszt’s recall Toch’s involvement in the score: “For a scene when recording of Schoenberg’s string quartets. Likewise, the fact he had no particular interest in films when he first Liebestraum No. 3 repeatedly, much to her guests’ Charles Laughton as the hunchback is seen climbing up Arthur Morton — working at RKO at the time with came to Hollywood, Alfred Newman’s sense of the dismay.) Brief though Newman’s All About Eve score is, Notre Dame, Toch wrote a fugal treatment of his theme. Newman — has described the composer as well-versed dramatic was unerring. In scoring the brooding, wind- the main title is unforgettable, a dynamic flourish in the It was a 10- or 15-minute cue. We needed one day to in all styles and techniques in the late 1930s. However, swept world of Wuthering Heights (1939), he furnished brass unleashing a bustling theme that conveys all the record this. But Laughton refused the music since his Morton added, extensive work was routinely distributed nearly 75 minutes of music for the 103-minute film. excitement and magic of New York’s frantic theatre grunts of effort couldn’t be heard! So they had no music to everyone in the music department because of ever- Similarly, for the sweeping adventure of Captain from world, so much the obsession of the title character. at all, which killed the excitement of the long climb.” pressing deadlines, especially on huge pictures such as Castile, he again decided to furnish a full score, from (Incidentally, the main title’s entry neatly fills in for Fred Steiner’s own research through others, including Hunchback: “Alfred would try to write all the music when which he drew for one of the earliest soundtrack albums Newman’s famous 20th Century-Fox fanfare, which Newman’s brother Emil and orchestrator Robert Russell he had the time, but time was always of the essence.” produced (and one, incidentally, that proved quite usually preceded the studio’s films.) In the brief suite at Bennett, strongly suggests Toch may have written other In any case, little contention exists on either side about respectable in sales). On the other hand, for Grapes of hand, the key theme for Anne Baxter’s Eve Harrington, music for the film, ultimately to see it either reworked or most of the Hunchback music — Newman was definitely Wrath (1940), Newman sized up the film’s gritty and the theatre scene that drives her so, continues on in discarded by Newman because it did not fit idiomatically. the chief composer. To hear film music archivist John Americana in the face of bleak conditions and was lean different guises, including a seemingly tender, innocent Even so, Newman may well have turned over some Morgan, who arranged much of the score for the première and raw-boned in his scoring, limiting what music he did one. But its climactic appearance — coming in the film materials to talented orchestrators such as Eddie Powell re-recording at hand, the evidence simply re-affirms furnish to folkish elements. Later, for Twelve O’Clock just after Eve has found success and, along with it, and Robert Russell Bennett for extensive development. Newman’s almost peerless gift for crafting full-blooded High (1949), he again considered the grim austerity and cynicism and despair — is just as memorable, reflecting With a fast-approaching deadline, Newman used a virtual themes, his deep faith in most of his music associates’ dismal mood of the film’s situations — an American the envy, lust and intoxicating allure that characterize the 8.570187 10 3 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 4

theatre limelight as well as a hint of the jarring darkness the money and opportunities quickly intrigued him. “I between Quasimodo and the mob far below, the 1939 trying to eke out an existence in Hollywood after just beyond it. don’t think any of them knew what they were doing or hunchback’s sudden notion of dumping molten metal on fleeing the Nazi menace in Europe. (Seventeen years later By 1950, Alfred Newman was at the height of his what they were getting into,” Fred Steiner said of the attackers is accompanied by a deliciously wicked he would claim a Pulitzer Prize with his third symphony, career, not just as a composer and conductor but as an composers in Hollywood at the time. “Musicals as films squeal of delight at the very idea from the E-flat clarinet, scored for orchestra and, for a few ear-catching sections, administrator who had gained the trust of studio were especially popular then, and studios were grinding immediately setting Quasimodo’s motif on its determined something called a “hisser.”) Sources ranging from Louis executives and the composers those same executives them out and were bringing composers and songwriters way again — a bit that might be overlooked by most, yet Kaufman, legendary studio violinist involved in the might have otherwise been reluctant to employ. He had out in droves. So when Newman came out, he came out serves to prove again the many joyful moments that make Hunchback of Notre Dame’s autumn 1939 recording cleared the way for such talented composers as David to do a musical film, though they later dropped all the up this thoroughly enjoyable score. Interestingly, Strauss sessions, to latter-day film-music researcher William Raksin, Hugo Friedhofer and the irascible Bernard songs in the film but one!” himself had resorted to the E-flat clarinet for a similar Rosar have insisted Toch wrote some music for the film, Herrmann (and, in doing so, indirectly gave the world Today film-music scholars place Newman, along with moment of dark humour in the spirited Till Eulenspiegel’s notably the exhilarating, Handel-like Hallelujah choral such remarkable scores as Raksin’s Laura, Friedhofer’s Korngold and Max Steiner, in the triumvirate of great Merry Pranks 44 years earlier. sequence, which bursts forth as Quasimodo swings down The Best Years of Our Lives and Herrmann’s The Ghost golden-age film composers emphasizing a heady From the very beginning, expectations soared high for from his perch, rescues gypsy dancer Esmeralda from the and Mrs. Muir). Herrmann’s career as a film composer symphonic style. What makes Newman’s inclusion all the Hunchback score. Arthur Morton, whose remarkable scaffold and hurries her off into the sanctuary of Notre might have ended in the 1940s without the faith Newman the more remarkable is that, compared to Korngold and career in Hollywood stretches from the 1930s to his famed Dame cathedral. “There’s no debate,” Rosar has said of continued to show in him. Newman had Darryl F. Steiner, he had little advanced schooling in composition, partnership as orchestrator for film composer Jerry Toch’s hand in composing this latter sequence, re-used to Zanuck’s ear at Fox and, because of that, Herrmann only his innate instincts in music to aid him. Apparently Goldsmith well into the 1990s, more than once delighted great effect in Newman’s moving scores for The Song of wound up scoring more pictures for that studio than he did it was enough. In 1931, he furnished his first truly original in recalling his unwitting run-in with Newman over the Bernadette (1943) and The Robe (1953). “The facts are for any other. Fred Steiner, who came to know Newman score for the film Street Scene, the main theme of which Hunchback score. In 1939 Morton was quietly asked to fairly unequivocal, supported by manuscript evidence in in the 1950s and later worked with him on the epic The proved so effective he re-used it in subsequent films. By provide a temporary sound-track for Hunchback for early the case of Toch, and I think there’s little doubt that a Greatest Story Ever Told (1965), said Newman’s the mid-1930s, with Hollywood’s film music still screening purposes. RKO executives were tickled with few parts of the score were ghosted by Robert Russell immense talent and ethic for hard work aided him in his evolving, Newman had already made his mark as a the results, he remembered, but Newman became most Bennett.” Rosar, pointing to Toch sketches in the Alfred job, but so did his personality. “He was very short and reliable and imaginative composer, and in 1939, then irritated because Morton temp-tracked the sprawling Newman collection at the University of Southern very dynamic, with a surprisingly deep voice for someone working diligently at various studios, he produced several picture with favourite classical selections rather than more California (as well as remarks in a note by Toch to of his physical stature,” Steiner recalled. “He was very significant scores, four of which received Academy conventional, easier-to-grasp cues from RKO’s music Newman about working on the Hallelujah, also in the much in command and a leader. In music, you can tell Award nominations — The Hunchback of Notre Dame, library. “I got brand new recordings of Vaughan collection), has referred additionally to personal corres- pretty quick when a guy knows his onions — and he did. They Shall Have Music, The Rains Came and Wuthering Williams’s F minor Symphony, a couple of Stravinsky pondence dated 28th November, 1976, in which Newman And yet, he was always a very affable guy.” Heights. Ironically, a functional but not terribly pieces — The Firebird and something else — and some colleague Hugo Friedhofer backed up recollections by No one would have been more surprised at Newman’s imaginative score, written for the western Stagecoach, Shostakovich plus a bunch of harp glissandi stuff from the Newman friend and orchestrator, Eddie Powell, career in 1950 than Newman himself just twenty years triumphed over them all that year. Newman, ever RKO library,” Morton said in a spirited 1996 interview on concerning Toch’s involvement: “Regarding the perennial earlier, when the 29-year-old Connecticut Yankee — the displaying faith in his colleagues, voiced no personal occasion of the recording at hand. “And, of course, Alfred Hallelujah — Powell was correct. It was part of a great product of an impoverished family and the oldest of ten disappointment. He later remarked he thought the honor was mad as the dickens. He gave me hell about it, too, deal of music which Toch wrote for Hunchback. The rest children — left conducting duties on Broadway for what should have gone to Max Steiner for Gone with the Wind. because he said it made it that much harder for him. Of of it, Alfred either didn’t dig or else disliked intensely.” he assumed would be a temporary job in Hollywood — If there was room for one more Academy Award course, his own score fit it marvellously. Now, what I did Although music scholar Fred Steiner — easily the serving as music director for Irving Berlin on the film nomination in 1939, Newman’s rousing score for I guess sounds presumptuous but, well, I had to have foremost expert on Newman’s music from this period — Reaching for the Moon. At the time Newman had no Paramount’s Beau Geste certainly deserved the spot. something to go by. I think I even used a couple of things has acknowledged the existence of the aforementioned, serious interest in film music and eagerly anticipated Director William Wellman’s desert drama about three from King Kong. It at least fit it well enough for a preview!” controversial Hallelujah sketch, he has also termed returning to New York once his well-paying, three-month brothers (Gary Cooper, Robert Preston and Ray Milland) Some intrigue over The Hunchback of Notre Dame ultimate authorship of this famous, minute-long sequence stint was done. But like many others visiting Hollywood, and their undying devotion to one another and family score revolves around Austrian composer Ernst Toch, by an “open question.” Did the sketch actually originate from 8.570187 4 9 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 8

qualities of mercy she herself has earlier prayed for so by literally moving up the hierarchy of woodwinds, may be convoluted, chatty, even corny at times, but it playfully pursue an English mouse, only to decide on fervently to the Virgin Mary. In this same amazing scene, though to little avail.) But rating special mention is the also boasts enough assets to certify it as a genuine classic. mercy for the rodent. In addition, an eerie motif, coloured captured both in the cue Whipping (ultimately trimmed film’s pull-out-the-stops climax involving the beggars’ For one thing, there is Brian Donlevy’s zesty performance by flutes and celeste with vibraphone, plus the strings from the film itself but rescued for this re-recording by efforts to storm Notre Dame to rescue Esmeralda, and as evil Sergeant Markoff of the Foreign Legion, forever briefly playing harmonics, appears in connection with the music reconstructionist John Morgan) as well as Quasimodo’s response to what he, in deaf ignorance, uttering some threat to his men — and always punctuating family’s prized sapphire, whose mysterious theft sends Esmeralda Walks up Steps, composed for Quasimodo’s assumes is an ugly mob set upon hanging her. In the cue it with a snarling, devilish, “I promise you!” Secondly, the Geste brothers from their comfortable estate home punishing public exposure after being flogged, a more Clopin Calls Charge, as the mob gathers and marches there’s wide-eyed J. Carrol Naish as the sergeant’s into the barren desert. resolute version of Frollo’s curious motif appears, defiantly to the cathedral where, ironically, Esmeralda simple-minded lackey. Who can forget Naish being shot Newman makes frequent use of most of these motifs, reflecting not only how severe and inhumane the high waits in safety, the beggars’ theme is heard in a truly off the guard tower in the final Arab attack, his crazed, always in clever ways. The martial motif for the Foreign justice’s notions of law and order truly are, but also his rousing rendition. However, once Quasimodo sets about hyena-like laugh following him all the way down? And Legion is heard in its most defiant form in the cue March own hidden responsibility for Quasimodo’s horrible time bombarding the mob below with beams and massive then there’s Newman’s vividly imaginative music, Out (and, though not included in the suite at hand, is on the pillory. Thereafter, the hunchback’s own lumbering blocks of stone and, later, waves of molten metal, the alternately carefree, ominous and haunting, either heard in especially grave and deliberate fashion when the motif re-appears, again burdened by strange harmonies, beggars’ theme becomes more desperate in the face of allowing for the more far-fetched elements of P.C. Wren’s young and decent lieutenant who commands the desert as Quasimodo stumbles in torment from the pillory to the the hunchback’s motif. These mix wildly with Victoria’s novel to meld more smoothly or whipping up enthusiasm outpost tragically succumbs to fever — a passage cathedral, urged on by Esmeralda’s theme. In the final Ave Maria and brief snippets for Frollo and Esmeralda, for the characters so effectively one doesn’t worry about rendered all the more effective when it suddenly stops, seconds of this scene, as Quasimodo collapses inside the ultimately creating the kind of excitement one finds in the storyline’s more outrageous twists. signifying through its silence the officer’s death). cathedral and out of the crowd’s glare, Frollo’s motif works such as Beethoven’s Wellington’s Victory and The main title offers three of the motifs right off — a Elsewhere the upbeat theme for the Geste brothers sounds once more on the alto flute, albeit in a very cool Tchaikovsky’s 1812 Overture. By the time Clopin on grim mention of the motif representing the Foreign appears in numerous variations — sometimes tenderly to manner. Ultimately, though, Esmeralda’s influence Ground arrives, the music paints a well-intentioned mob Legion, then a jaunty, full-blooded theme springing to signify their concern for one another, sometimes triumphs, wonderfully interwoven with a fragment of the quelled and its leader down and dying but also a bright life largely through the strings and representing the Geste heroically, as in those scenes when they and other soldiers pitiful hunchback. A few subtle comments from the future for Esmeralda and her poet-lover. Only a brief but brothers, their high spirits and their love of adventure. desperately defend Fort Zinderneuf, the rollicking theme timpani bring this incredible sequence to an end. meaningful moment is given over to the hunchback, now Then comes an exotic motif from the oboe conveying the locked in a death-grip with the aforementioned Arab Too many instances of this fluid and inventive doomed to remain in his lonely world among the dangers of the Sahara Desert and the warlike Arabs who motif, by now more frantic and boasting far greater development occur in The Hunchback of Notre Dame to gargoyles high atop Notre Dame. roam it, while an alto flute at the same time mystically symphonic forces. The Foreign Legion’s theme is also be mentioned here. In the first part of the cue A Woman Thanks to its abundance of musical ideas and richness foretells how the Legion’s destiny is hopelessly wrapped caught up in all of this action, with everything rushing Has Bewitched Me, Frollo’s obsession with the gypsy in variation and development, the score for The up in this hostile and unforgiving land. The main title is together in the madness of battle. Most searing of all, girl and admittance of it in the church find, in the score, Hunchback of Notre Dame triumphs even when heard just enough evidence of excitement and faraway settings though, are those portions of the score conveying death Esmeralda’s thematic presence twisted way out of away from the film. Nevertheless, some wonderful to keep most viewers in place for the film’s more leisurely as it quickly spreads throughout the doomed fort, proportion and Frollo’s own motif now driven by touches are best appreciated, at least initially, in the paced first part, itself merrily buoyed by Newman’s ultimately captured in the cue A Viking’s Funeral, with desperate urgency. Only the church’s presence, context of the film. In the final seconds of Thank You music, as heard in the cue The Early Years. In it, we the other-worldly, high-pitched female chorus, the heavy represented by the Ave Maria, once again stands Mother of God, when the poet Gringoire and the receive a strutting, seagoing version of the Geste brothers droning of the lower brass, and, finally, a brief trumpet- unbowed. Later, in Esmeralda in Bell Tower, handsome soldier who has just rescued Esmeralda are theme, scored for the sequence when the brothers, as boys, call atop it all signifying the obligations of a soldier of the Esmeralda’s gratitude to Quasimodo for rescuing her from discussing the gypsy lass, Gringoire’s puffed-up and false play high-adventure games and even mount a “Viking Foreign Legion — even a dead one. Coupled with the the hangman’s noose (set by mad Frollo) is lovingly claim to her affections causes him momentarily to lose his funeral” (during which the Geste theme is quite solemnly stark images of Fort Zinderneuf — soldiers’ bodies chronicled, but so is her pining for the honest and sincere footing on a loose rock, his fall wittily accompanied by a intoned by the woodwinds). propped up to appear as if they’re still ready for another poet Gringoire, whose own love she has come to slightly discordant, sharply abbreviated mention of Other moments of Newman’s fertile imagination Arab attack — these passages are perhaps the most appreciate almost too late. (And listen for Quasimodo’s Esmeralda in the score — a touch Richard Strauss would surface readily, including the joyfully frantic Chasing a powerful of all in Newman’s Beau Geste. The motif in this cue, trying to step forth from its lowly ranks have smiled at. Later, during the exciting battle scene Mouse, in which two of the brothers — now grown — intermingling again of the oboe and alto flute, signifying 8.570187 8 5 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 6

countless crates of celery to represent the garbage of a Esmeralda’s theme. Thanks to the composer’s typically Quasimodo’s protector. Frollo’s motif first surfaces on sprawling city. Even sets from Universal’s famed 1923 warm string-writing and Laughton’s moving portrayal, the alto flute in the cue Thank You Mother of God — version of the novel were brought in for the new the scene ranks as one of the most powerful in film. seemingly gentle and refined and orderly on initial production, though there the similarity ended. With tall, “It’s a truly remarkable score, especially in regard to hearing, yet just odd enough to signal the fatal flaws in his imposing, white-gloved German director William Dieterle the character of the themes,” Fred Steiner remarked of personality that precipitate so much of the trouble ahead. at the helm and British actor Charles Laughton tackling the Hunchback music, shortly after much of the score When Frollo sends the hunchback out to do his bidding the title role — and doing plenty of real-life suffering was performed by the Moscow Symphony Orchestra in by abducting the gypsy girl who has enchanted him, under weighty, confining makeup during filming in 100- 1996 for the present recording. “The great thing about Frollo’s motif can almost be heard sending Quasimodo’s degree weather — the film promised much. Studio the themes for the hunchback, Esmeralda, the young on its lumbering way. Yet later in this same cue, Phoebus publicists heightened anticipation, too, by refusing to soldier she falls for and the poet Gringoire is that they all (Alan Marshal), the captain of the guards who rescues release any pictures of Laughton in his Quasimodo fit their personalities so well. One might say of the theme Esmeralda from the hunchback and then seeks her makeup. They were likely overjoyed, too, when Life for the hunchback that it’s mickey-mousing, musically attentions for a night of tender debauchery, is given a printed a photograph of just that, “smuggled” past the simulating the way he drags one leg behind him — but it’s swashbuckling theme worthy of Korngold (and one studio’s own uniformed gargoyles. so much more than that, it’s real music.” Indeed, Newman Newman was to re-use in Prince of Foxes a decade later With its haunting cathedral interiors, lonely bell-tower is not stingy in trotting out motifs and themes for various and The Robe even later). Finally there is the plainly and crammed Paris streets full of thieves, charlatans, characters in Hunchback, and he parades them forth early pious, ever-mystical and always comforting Ave Maria Alfred Newman around 1941 celebrants and dreamers, Dieterle’s Hunchback of Notre on. The gorgeous motif for Esmeralda (nineteen-year-old generally credited to sixteenth-century composer (and Photo by permission of USC Film and Television Library Dame demanded a widely ranging score reflecting not Maureen O’Hara) springs forth, aptly, from the red- ordained priest) Tomás Luis de Victoria, its first only the sacred and the profane but the dark anxiety of the blooded music beginning the cue The Gypsies, though it instrumental rendition in this suite heard at the start of the ever-insurmountable dangers of the Sahara and the times and fleeting hopes of better things to come. To quote no sooner makes its passionate presence known than Thank You Mother of God and used to symbolize the Legion’s mission, now reminds one and all of a destiny Charles Higham in his book, Charles Laughton: An violent chords clear the way for a hulking, awkward- sanctuary that Notre Dame represents for society’s misfits, fulfilled. Intimate Biography (Doubleday, 1976), the film pivoted sounding motif from the orchestra’s bowels for Notre including Esmeralda, Quasimodo and, until murder, lust The grand score for RKO’s production of The heavily on its inspired score and Laughton’s own stunning Dame’s hideously deformed bell-ringer. (This and vengeance completely overtake him, the much- Hunchback of Notre Dame has garnered increasing expressiveness: “This is an operetta without songs, accompanies a scene in which a woman runs screaming troubled Frollo. In fact, one reason Frollo’s motif is able attention through the years, not just because of its thrilling accompanied by composer Alfred Newman’s crashing through the streets, panic-stricken after Quasimodo to enter so innocently onto the scene is because it literally variety and richness of invention but also because it was chords and celestial choirs, suggesting menace or crosses her path.) Shortly thereafter, in the midst of the steps out of the Ave Maria. produced during a busy period when Alfred Newman was exaltation. Under the circumstances, Charles’ achievement unrestrained merriment of the Festival of Fools gripping Newman was seemingly inexhaustible in coming up working on several film scores. The Hunchback score is nothing short of astonishing. With only a handful of all Paris, including the old-fashioned royalty viewing it with themes and motifs, but what lifts The Hunchback of arose from a mammoth challenge. The studio sank a lines of dialogue and a succession of action scenes in all, the motif for the idealistic poet Gringoire (Edmond Notre Dame score above so many others is their rigorous fortune into its remake of Victor Hugo’s sprawling novel which he is crowned king of the grotesques, accused of O’Brien in his film début) is first sounded in the strings development as the film unfolds. For instance, in the cue about Quasimodo, the deaf, misshapen bell-ringer of seducing Esmeralda and whipped on the wheel, seen toward the end of the cue In the King’s Box — earnest, Esmeralda Walks up Steps, written for the fantastic Notre Dame cathedral, and his doomed love for gypsy ringing the bells and rescuing the unhappy girl from the noble and unhindered by the wonderfully biting tonalities scene in which Esmeralda shows pity on the hunchback dancer Esmeralda. On an eighty-acre ranch in the San hangman’s noose, he somehow creates a character.” heard moments earlier in The Festival and, of course, far on the pillory and, before an astonished mob, brings the Fernando Valley, a Life reporter of the time marveled at Nowhere is this more true than in the sequence where more progressive than the period music representing all unfortunate soul water to drink, Esmeralda’s theme — a 190-foot replica of the famed cathedral, complete with gypsy dancer Esmeralda sees Quasimodo in torment and the King’s men. previously sensuous and comely as she lusts for the towers, vaults, bells, stained-glass windows and, most brings “water and a little pity” to the whipped and tightly Other memorable motifs are served up as the film captain of the guards near the end of Thank You Mother important of all, various gargoyles. Below all of this the bound beast on the wheel — a scene all the more moving progresses, including that for Frollo (Sir Cedric of God — suddenly re-appears here as something serene, studio erected an entire medieval village, complete with with Newman’s shimmeringly beautiful version of Hardwicke), the king’s stern high justice and deliberate, even holy, reflecting in some respects the 8.570187 6 7 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 6

countless crates of celery to represent the garbage of a Esmeralda’s theme. Thanks to the composer’s typically Quasimodo’s protector. Frollo’s motif first surfaces on sprawling city. Even sets from Universal’s famed 1923 warm string-writing and Laughton’s moving portrayal, the alto flute in the cue Thank You Mother of God — version of the novel were brought in for the new the scene ranks as one of the most powerful in film. seemingly gentle and refined and orderly on initial production, though there the similarity ended. With tall, “It’s a truly remarkable score, especially in regard to hearing, yet just odd enough to signal the fatal flaws in his imposing, white-gloved German director William Dieterle the character of the themes,” Fred Steiner remarked of personality that precipitate so much of the trouble ahead. at the helm and British actor Charles Laughton tackling the Hunchback music, shortly after much of the score When Frollo sends the hunchback out to do his bidding the title role — and doing plenty of real-life suffering was performed by the Moscow Symphony Orchestra in by abducting the gypsy girl who has enchanted him, under weighty, confining makeup during filming in 100- 1996 for the present recording. “The great thing about Frollo’s motif can almost be heard sending Quasimodo’s degree weather — the film promised much. Studio the themes for the hunchback, Esmeralda, the young on its lumbering way. Yet later in this same cue, Phoebus publicists heightened anticipation, too, by refusing to soldier she falls for and the poet Gringoire is that they all (Alan Marshal), the captain of the guards who rescues release any pictures of Laughton in his Quasimodo fit their personalities so well. One might say of the theme Esmeralda from the hunchback and then seeks her makeup. They were likely overjoyed, too, when Life for the hunchback that it’s mickey-mousing, musically attentions for a night of tender debauchery, is given a printed a photograph of just that, “smuggled” past the simulating the way he drags one leg behind him — but it’s swashbuckling theme worthy of Korngold (and one studio’s own uniformed gargoyles. so much more than that, it’s real music.” Indeed, Newman Newman was to re-use in Prince of Foxes a decade later With its haunting cathedral interiors, lonely bell-tower is not stingy in trotting out motifs and themes for various and The Robe even later). Finally there is the plainly and crammed Paris streets full of thieves, charlatans, characters in Hunchback, and he parades them forth early pious, ever-mystical and always comforting Ave Maria Alfred Newman around 1941 celebrants and dreamers, Dieterle’s Hunchback of Notre on. The gorgeous motif for Esmeralda (nineteen-year-old generally credited to sixteenth-century composer (and Photo by permission of USC Film and Television Library Dame demanded a widely ranging score reflecting not Maureen O’Hara) springs forth, aptly, from the red- ordained priest) Tomás Luis de Victoria, its first only the sacred and the profane but the dark anxiety of the blooded music beginning the cue The Gypsies, though it instrumental rendition in this suite heard at the start of the ever-insurmountable dangers of the Sahara and the times and fleeting hopes of better things to come. To quote no sooner makes its passionate presence known than Thank You Mother of God and used to symbolize the Legion’s mission, now reminds one and all of a destiny Charles Higham in his book, Charles Laughton: An violent chords clear the way for a hulking, awkward- sanctuary that Notre Dame represents for society’s misfits, fulfilled. Intimate Biography (Doubleday, 1976), the film pivoted sounding motif from the orchestra’s bowels for Notre including Esmeralda, Quasimodo and, until murder, lust The grand score for RKO’s production of The heavily on its inspired score and Laughton’s own stunning Dame’s hideously deformed bell-ringer. (This and vengeance completely overtake him, the much- Hunchback of Notre Dame has garnered increasing expressiveness: “This is an operetta without songs, accompanies a scene in which a woman runs screaming troubled Frollo. In fact, one reason Frollo’s motif is able attention through the years, not just because of its thrilling accompanied by composer Alfred Newman’s crashing through the streets, panic-stricken after Quasimodo to enter so innocently onto the scene is because it literally variety and richness of invention but also because it was chords and celestial choirs, suggesting menace or crosses her path.) Shortly thereafter, in the midst of the steps out of the Ave Maria. produced during a busy period when Alfred Newman was exaltation. Under the circumstances, Charles’ achievement unrestrained merriment of the Festival of Fools gripping Newman was seemingly inexhaustible in coming up working on several film scores. The Hunchback score is nothing short of astonishing. With only a handful of all Paris, including the old-fashioned royalty viewing it with themes and motifs, but what lifts The Hunchback of arose from a mammoth challenge. The studio sank a lines of dialogue and a succession of action scenes in all, the motif for the idealistic poet Gringoire (Edmond Notre Dame score above so many others is their rigorous fortune into its remake of Victor Hugo’s sprawling novel which he is crowned king of the grotesques, accused of O’Brien in his film début) is first sounded in the strings development as the film unfolds. For instance, in the cue about Quasimodo, the deaf, misshapen bell-ringer of seducing Esmeralda and whipped on the wheel, seen toward the end of the cue In the King’s Box — earnest, Esmeralda Walks up Steps, written for the fantastic Notre Dame cathedral, and his doomed love for gypsy ringing the bells and rescuing the unhappy girl from the noble and unhindered by the wonderfully biting tonalities scene in which Esmeralda shows pity on the hunchback dancer Esmeralda. On an eighty-acre ranch in the San hangman’s noose, he somehow creates a character.” heard moments earlier in The Festival and, of course, far on the pillory and, before an astonished mob, brings the Fernando Valley, a Life reporter of the time marveled at Nowhere is this more true than in the sequence where more progressive than the period music representing all unfortunate soul water to drink, Esmeralda’s theme — a 190-foot replica of the famed cathedral, complete with gypsy dancer Esmeralda sees Quasimodo in torment and the King’s men. previously sensuous and comely as she lusts for the towers, vaults, bells, stained-glass windows and, most brings “water and a little pity” to the whipped and tightly Other memorable motifs are served up as the film captain of the guards near the end of Thank You Mother important of all, various gargoyles. Below all of this the bound beast on the wheel — a scene all the more moving progresses, including that for Frollo (Sir Cedric of God — suddenly re-appears here as something serene, studio erected an entire medieval village, complete with with Newman’s shimmeringly beautiful version of Hardwicke), the king’s stern high justice and deliberate, even holy, reflecting in some respects the 8.570187 6 7 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 8

qualities of mercy she herself has earlier prayed for so by literally moving up the hierarchy of woodwinds, may be convoluted, chatty, even corny at times, but it playfully pursue an English mouse, only to decide on fervently to the Virgin Mary. In this same amazing scene, though to little avail.) But rating special mention is the also boasts enough assets to certify it as a genuine classic. mercy for the rodent. In addition, an eerie motif, coloured captured both in the cue Whipping (ultimately trimmed film’s pull-out-the-stops climax involving the beggars’ For one thing, there is Brian Donlevy’s zesty performance by flutes and celeste with vibraphone, plus the strings from the film itself but rescued for this re-recording by efforts to storm Notre Dame to rescue Esmeralda, and as evil Sergeant Markoff of the Foreign Legion, forever briefly playing harmonics, appears in connection with the music reconstructionist John Morgan) as well as Quasimodo’s response to what he, in deaf ignorance, uttering some threat to his men — and always punctuating family’s prized sapphire, whose mysterious theft sends Esmeralda Walks up Steps, composed for Quasimodo’s assumes is an ugly mob set upon hanging her. In the cue it with a snarling, devilish, “I promise you!” Secondly, the Geste brothers from their comfortable estate home punishing public exposure after being flogged, a more Clopin Calls Charge, as the mob gathers and marches there’s wide-eyed J. Carrol Naish as the sergeant’s into the barren desert. resolute version of Frollo’s curious motif appears, defiantly to the cathedral where, ironically, Esmeralda simple-minded lackey. Who can forget Naish being shot Newman makes frequent use of most of these motifs, reflecting not only how severe and inhumane the high waits in safety, the beggars’ theme is heard in a truly off the guard tower in the final Arab attack, his crazed, always in clever ways. The martial motif for the Foreign justice’s notions of law and order truly are, but also his rousing rendition. However, once Quasimodo sets about hyena-like laugh following him all the way down? And Legion is heard in its most defiant form in the cue March own hidden responsibility for Quasimodo’s horrible time bombarding the mob below with beams and massive then there’s Newman’s vividly imaginative music, Out (and, though not included in the suite at hand, is on the pillory. Thereafter, the hunchback’s own lumbering blocks of stone and, later, waves of molten metal, the alternately carefree, ominous and haunting, either heard in especially grave and deliberate fashion when the motif re-appears, again burdened by strange harmonies, beggars’ theme becomes more desperate in the face of allowing for the more far-fetched elements of P.C. Wren’s young and decent lieutenant who commands the desert as Quasimodo stumbles in torment from the pillory to the the hunchback’s motif. These mix wildly with Victoria’s novel to meld more smoothly or whipping up enthusiasm outpost tragically succumbs to fever — a passage cathedral, urged on by Esmeralda’s theme. In the final Ave Maria and brief snippets for Frollo and Esmeralda, for the characters so effectively one doesn’t worry about rendered all the more effective when it suddenly stops, seconds of this scene, as Quasimodo collapses inside the ultimately creating the kind of excitement one finds in the storyline’s more outrageous twists. signifying through its silence the officer’s death). cathedral and out of the crowd’s glare, Frollo’s motif works such as Beethoven’s Wellington’s Victory and The main title offers three of the motifs right off — a Elsewhere the upbeat theme for the Geste brothers sounds once more on the alto flute, albeit in a very cool Tchaikovsky’s 1812 Overture. By the time Clopin on grim mention of the motif representing the Foreign appears in numerous variations — sometimes tenderly to manner. Ultimately, though, Esmeralda’s influence Ground arrives, the music paints a well-intentioned mob Legion, then a jaunty, full-blooded theme springing to signify their concern for one another, sometimes triumphs, wonderfully interwoven with a fragment of the quelled and its leader down and dying but also a bright life largely through the strings and representing the Geste heroically, as in those scenes when they and other soldiers pitiful hunchback. A few subtle comments from the future for Esmeralda and her poet-lover. Only a brief but brothers, their high spirits and their love of adventure. desperately defend Fort Zinderneuf, the rollicking theme timpani bring this incredible sequence to an end. meaningful moment is given over to the hunchback, now Then comes an exotic motif from the oboe conveying the locked in a death-grip with the aforementioned Arab Too many instances of this fluid and inventive doomed to remain in his lonely world among the dangers of the Sahara Desert and the warlike Arabs who motif, by now more frantic and boasting far greater development occur in The Hunchback of Notre Dame to gargoyles high atop Notre Dame. roam it, while an alto flute at the same time mystically symphonic forces. The Foreign Legion’s theme is also be mentioned here. In the first part of the cue A Woman Thanks to its abundance of musical ideas and richness foretells how the Legion’s destiny is hopelessly wrapped caught up in all of this action, with everything rushing Has Bewitched Me, Frollo’s obsession with the gypsy in variation and development, the score for The up in this hostile and unforgiving land. The main title is together in the madness of battle. Most searing of all, girl and admittance of it in the church find, in the score, Hunchback of Notre Dame triumphs even when heard just enough evidence of excitement and faraway settings though, are those portions of the score conveying death Esmeralda’s thematic presence twisted way out of away from the film. Nevertheless, some wonderful to keep most viewers in place for the film’s more leisurely as it quickly spreads throughout the doomed fort, proportion and Frollo’s own motif now driven by touches are best appreciated, at least initially, in the paced first part, itself merrily buoyed by Newman’s ultimately captured in the cue A Viking’s Funeral, with desperate urgency. Only the church’s presence, context of the film. In the final seconds of Thank You music, as heard in the cue The Early Years. In it, we the other-worldly, high-pitched female chorus, the heavy represented by the Ave Maria, once again stands Mother of God, when the poet Gringoire and the receive a strutting, seagoing version of the Geste brothers droning of the lower brass, and, finally, a brief trumpet- unbowed. Later, in Esmeralda in Bell Tower, handsome soldier who has just rescued Esmeralda are theme, scored for the sequence when the brothers, as boys, call atop it all signifying the obligations of a soldier of the Esmeralda’s gratitude to Quasimodo for rescuing her from discussing the gypsy lass, Gringoire’s puffed-up and false play high-adventure games and even mount a “Viking Foreign Legion — even a dead one. Coupled with the the hangman’s noose (set by mad Frollo) is lovingly claim to her affections causes him momentarily to lose his funeral” (during which the Geste theme is quite solemnly stark images of Fort Zinderneuf — soldiers’ bodies chronicled, but so is her pining for the honest and sincere footing on a loose rock, his fall wittily accompanied by a intoned by the woodwinds). propped up to appear as if they’re still ready for another poet Gringoire, whose own love she has come to slightly discordant, sharply abbreviated mention of Other moments of Newman’s fertile imagination Arab attack — these passages are perhaps the most appreciate almost too late. (And listen for Quasimodo’s Esmeralda in the score — a touch Richard Strauss would surface readily, including the joyfully frantic Chasing a powerful of all in Newman’s Beau Geste. The motif in this cue, trying to step forth from its lowly ranks have smiled at. Later, during the exciting battle scene Mouse, in which two of the brothers — now grown — intermingling again of the oboe and alto flute, signifying 8.570187 8 5 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 4

theatre limelight as well as a hint of the jarring darkness the money and opportunities quickly intrigued him. “I between Quasimodo and the mob far below, the 1939 trying to eke out an existence in Hollywood after just beyond it. don’t think any of them knew what they were doing or hunchback’s sudden notion of dumping molten metal on fleeing the Nazi menace in Europe. (Seventeen years later By 1950, Alfred Newman was at the height of his what they were getting into,” Fred Steiner said of the attackers is accompanied by a deliciously wicked he would claim a Pulitzer Prize with his third symphony, career, not just as a composer and conductor but as an composers in Hollywood at the time. “Musicals as films squeal of delight at the very idea from the E-flat clarinet, scored for orchestra and, for a few ear-catching sections, administrator who had gained the trust of studio were especially popular then, and studios were grinding immediately setting Quasimodo’s motif on its determined something called a “hisser.”) Sources ranging from Louis executives and the composers those same executives them out and were bringing composers and songwriters way again — a bit that might be overlooked by most, yet Kaufman, legendary studio violinist involved in the might have otherwise been reluctant to employ. He had out in droves. So when Newman came out, he came out serves to prove again the many joyful moments that make Hunchback of Notre Dame’s autumn 1939 recording cleared the way for such talented composers as David to do a musical film, though they later dropped all the up this thoroughly enjoyable score. Interestingly, Strauss sessions, to latter-day film-music researcher William Raksin, Hugo Friedhofer and the irascible Bernard songs in the film but one!” himself had resorted to the E-flat clarinet for a similar Rosar have insisted Toch wrote some music for the film, Herrmann (and, in doing so, indirectly gave the world Today film-music scholars place Newman, along with moment of dark humour in the spirited Till Eulenspiegel’s notably the exhilarating, Handel-like Hallelujah choral such remarkable scores as Raksin’s Laura, Friedhofer’s Korngold and Max Steiner, in the triumvirate of great Merry Pranks 44 years earlier. sequence, which bursts forth as Quasimodo swings down The Best Years of Our Lives and Herrmann’s The Ghost golden-age film composers emphasizing a heady From the very beginning, expectations soared high for from his perch, rescues gypsy dancer Esmeralda from the and Mrs. Muir). Herrmann’s career as a film composer symphonic style. What makes Newman’s inclusion all the Hunchback score. Arthur Morton, whose remarkable scaffold and hurries her off into the sanctuary of Notre might have ended in the 1940s without the faith Newman the more remarkable is that, compared to Korngold and career in Hollywood stretches from the 1930s to his famed Dame cathedral. “There’s no debate,” Rosar has said of continued to show in him. Newman had Darryl F. Steiner, he had little advanced schooling in composition, partnership as orchestrator for film composer Jerry Toch’s hand in composing this latter sequence, re-used to Zanuck’s ear at Fox and, because of that, Herrmann only his innate instincts in music to aid him. Apparently Goldsmith well into the 1990s, more than once delighted great effect in Newman’s moving scores for The Song of wound up scoring more pictures for that studio than he did it was enough. In 1931, he furnished his first truly original in recalling his unwitting run-in with Newman over the Bernadette (1943) and The Robe (1953). “The facts are for any other. Fred Steiner, who came to know Newman score for the film Street Scene, the main theme of which Hunchback score. In 1939 Morton was quietly asked to fairly unequivocal, supported by manuscript evidence in in the 1950s and later worked with him on the epic The proved so effective he re-used it in subsequent films. By provide a temporary sound-track for Hunchback for early the case of Toch, and I think there’s little doubt that a Greatest Story Ever Told (1965), said Newman’s the mid-1930s, with Hollywood’s film music still screening purposes. RKO executives were tickled with few parts of the score were ghosted by Robert Russell immense talent and ethic for hard work aided him in his evolving, Newman had already made his mark as a the results, he remembered, but Newman became most Bennett.” Rosar, pointing to Toch sketches in the Alfred job, but so did his personality. “He was very short and reliable and imaginative composer, and in 1939, then irritated because Morton temp-tracked the sprawling Newman collection at the University of Southern very dynamic, with a surprisingly deep voice for someone working diligently at various studios, he produced several picture with favourite classical selections rather than more California (as well as remarks in a note by Toch to of his physical stature,” Steiner recalled. “He was very significant scores, four of which received Academy conventional, easier-to-grasp cues from RKO’s music Newman about working on the Hallelujah, also in the much in command and a leader. In music, you can tell Award nominations — The Hunchback of Notre Dame, library. “I got brand new recordings of Vaughan collection), has referred additionally to personal corres- pretty quick when a guy knows his onions — and he did. They Shall Have Music, The Rains Came and Wuthering Williams’s F minor Symphony, a couple of Stravinsky pondence dated 28th November, 1976, in which Newman And yet, he was always a very affable guy.” Heights. Ironically, a functional but not terribly pieces — The Firebird and something else — and some colleague Hugo Friedhofer backed up recollections by No one would have been more surprised at Newman’s imaginative score, written for the western Stagecoach, Shostakovich plus a bunch of harp glissandi stuff from the Newman friend and orchestrator, Eddie Powell, career in 1950 than Newman himself just twenty years triumphed over them all that year. Newman, ever RKO library,” Morton said in a spirited 1996 interview on concerning Toch’s involvement: “Regarding the perennial earlier, when the 29-year-old Connecticut Yankee — the displaying faith in his colleagues, voiced no personal occasion of the recording at hand. “And, of course, Alfred Hallelujah — Powell was correct. It was part of a great product of an impoverished family and the oldest of ten disappointment. He later remarked he thought the honor was mad as the dickens. He gave me hell about it, too, deal of music which Toch wrote for Hunchback. The rest children — left conducting duties on Broadway for what should have gone to Max Steiner for Gone with the Wind. because he said it made it that much harder for him. Of of it, Alfred either didn’t dig or else disliked intensely.” he assumed would be a temporary job in Hollywood — If there was room for one more Academy Award course, his own score fit it marvellously. Now, what I did Although music scholar Fred Steiner — easily the serving as music director for Irving Berlin on the film nomination in 1939, Newman’s rousing score for I guess sounds presumptuous but, well, I had to have foremost expert on Newman’s music from this period — Reaching for the Moon. At the time Newman had no Paramount’s Beau Geste certainly deserved the spot. something to go by. I think I even used a couple of things has acknowledged the existence of the aforementioned, serious interest in film music and eagerly anticipated Director William Wellman’s desert drama about three from King Kong. It at least fit it well enough for a preview!” controversial Hallelujah sketch, he has also termed returning to New York once his well-paying, three-month brothers (Gary Cooper, Robert Preston and Ray Milland) Some intrigue over The Hunchback of Notre Dame ultimate authorship of this famous, minute-long sequence stint was done. But like many others visiting Hollywood, and their undying devotion to one another and family score revolves around Austrian composer Ernst Toch, by an “open question.” Did the sketch actually originate from 8.570187 4 9 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 10

Toch or was it dictated to Toch by Newman for further army of talented orchestrators. Clifford McCarty’s tireless Newman friend Tony Thomas wrote in Film Score: The officer dealing with depression and despair among World development, as was custom then? And did Newman later research on score materials shows that, just in the first View from the Podium. “As a conductor, he was probably War II bomber crews — and shrewdly opted to score as rework Toch’s sketch for inclusion in the film, enough so part of the score, Powell handled the main title, In the the finest ever to work in films. It was what he most loved little as possible. (One of the few sequences was a that it became a piece owing far more to Newman than King’s Box and Esmeralda’s Dance, Bennett (a talented to do, and the many who played under his baton claim that reworking of friend and colleague Hugo Friedhofer’s Toch? Although some bars in the sketch usually credited but ridiculously neglected composer in his own right) had circumstances been different, he would most likely effectively nightmarish bomber music from The Best to Toch reportedly echo the Hallelujah heard so worked on The Gypsies, Conrad Salinger tackled The have been an outstanding symphonic conductor. Despite Years of Our Lives just three years earlier.) gloriously in the film, Steiner has noted that the final Festival and Leonid Raab took The Dance of Death (the his talent as a composer, he did not enjoy the work of Even when Alfred Newman was sparing in his scoring version in the film shows significant changes. Until firm latter serving as musical accompaniment for a play sitting and inventing music. A most gregarious man by of a film, the efforts were frequently memorable. No film evidence surfaces concerning authorship one way or the mounted during the festival). Salinger and Raab are nature, the loneliness of composing disturbed him, and he proves this better than All About Eve (1950), a classic other, efforts to wholly or even partially credit Ernst Toch credited with much of the arranging on the Notre Dame admitted he often sat for hours looking at blank music about a middle-aged, somewhat insecure actress, her for the Hallelujah are, to hear Fred Steiner, “pure battle sequence, and Steiner says he would not be at all paper before being able to write a note.” In an interview deceitful, conniving protégée and New York’s gossipy, speculation.” That notwithstanding, Toch’s grandson surprised if Bennett contributed much creatively to it. As on occasion of the recording at hand, veteran film-music intrigue-filled theatre world. Newman’s decision to limit Lawrence Weschler again credited his late grandfather for the carnival sequence’s “Festival of Fools,” with all its orchestrator Arthur Morton echoed this insight concerning his scoring is understandable enough. With crisp script- with writing the Hallelujah in a piece published by visceral tonalities, Steiner has said while Newman seldom Newman’s immense talents at the podium, though he also writing and taut direction, both by Joseph L. Mankiewicz, Atlantic Monthly in December 1996, suggesting that, wrote music in that style, he was hardly a stranger to outlined certain preferences: “He was reluctant to do and wonderful ensemble acting from a spunky cast that among the Toch family anyway, authorship of the cue is pungent polytonalities in the late 1930s (and, for what anything outside the studio. When he went to conduct at included Bette Davis, Anne Baxter, Gary Merrill, Hugh a foregone conclusion. it’s worth, the cue was revised and used in Newman’s the Hollywood Bowl, I remember he was a nervous Marlowe and, as a newspaper critic with a sharp pen and Toch’s depth of involvement in The Hunchback of sterling score for Prince of Foxes a decade later). In fact, wreck. But inside the studio, in front of an orchestra — tongue to match, George Sanders, anything more from Notre Dame has long tantalized researchers, even while Newman maintained a friendship with composer Arnold and, let’s face it, 20th Century-Fox had the best — he 20th Century-Fox’s music department might have been works known for certain by Toch have gone unperformed Schoenberg — one that developed to the extent Newman, was an absolute master. He loved conducting and he was overkill. (It is certainly a lesson the film’s Margo for years. Studio violinist Louis Kaufman, in a lively 1992 in a gesture of personal and professional admiration, in good at it.” Channing could have heeded in the celebrated party scene interview with Matthias Budinger, was among those to 1936 sponsored and produced the very first integral Despite his admitted dread of composing, and despite where she demands her pianist perform Liszt’s recall Toch’s involvement in the score: “For a scene when recording of Schoenberg’s string quartets. Likewise, the fact he had no particular interest in films when he first Liebestraum No. 3 repeatedly, much to her guests’ Charles Laughton as the hunchback is seen climbing up Arthur Morton — working at RKO at the time with came to Hollywood, Alfred Newman’s sense of the dismay.) Brief though Newman’s All About Eve score is, Notre Dame, Toch wrote a fugal treatment of his theme. Newman — has described the composer as well-versed dramatic was unerring. In scoring the brooding, wind- the main title is unforgettable, a dynamic flourish in the It was a 10- or 15-minute cue. We needed one day to in all styles and techniques in the late 1930s. However, swept world of Wuthering Heights (1939), he furnished brass unleashing a bustling theme that conveys all the record this. But Laughton refused the music since his Morton added, extensive work was routinely distributed nearly 75 minutes of music for the 103-minute film. excitement and magic of New York’s frantic theatre grunts of effort couldn’t be heard! So they had no music to everyone in the music department because of ever- Similarly, for the sweeping adventure of Captain from world, so much the obsession of the title character. at all, which killed the excitement of the long climb.” pressing deadlines, especially on huge pictures such as Castile, he again decided to furnish a full score, from (Incidentally, the main title’s entry neatly fills in for Fred Steiner’s own research through others, including Hunchback: “Alfred would try to write all the music when which he drew for one of the earliest soundtrack albums Newman’s famous 20th Century-Fox fanfare, which Newman’s brother Emil and orchestrator Robert Russell he had the time, but time was always of the essence.” produced (and one, incidentally, that proved quite usually preceded the studio’s films.) In the brief suite at Bennett, strongly suggests Toch may have written other In any case, little contention exists on either side about respectable in sales). On the other hand, for Grapes of hand, the key theme for Anne Baxter’s Eve Harrington, music for the film, ultimately to see it either reworked or most of the Hunchback music — Newman was definitely Wrath (1940), Newman sized up the film’s gritty and the theatre scene that drives her so, continues on in discarded by Newman because it did not fit idiomatically. the chief composer. To hear film music archivist John Americana in the face of bleak conditions and was lean different guises, including a seemingly tender, innocent Even so, Newman may well have turned over some Morgan, who arranged much of the score for the première and raw-boned in his scoring, limiting what music he did one. But its climactic appearance — coming in the film materials to talented orchestrators such as Eddie Powell re-recording at hand, the evidence simply re-affirms furnish to folkish elements. Later, for Twelve O’Clock just after Eve has found success and, along with it, and Robert Russell Bennett for extensive development. Newman’s almost peerless gift for crafting full-blooded High (1949), he again considered the grim austerity and cynicism and despair — is just as memorable, reflecting With a fast-approaching deadline, Newman used a virtual themes, his deep faith in most of his music associates’ dismal mood of the film’s situations — an American the envy, lust and intoxicating allure that characterize the 8.570187 10 3 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 2

Alfred Newman (1901–1970) talent (and his rare ability to recognise such talent), his reflect the almighty influence of the church in Hunchback long-standing belief in teamwork at all times and, finally, and even employed its choral version for the main title. Music for the films his devotion to doing whatever was right for a picture, While Fred Steiner was later prompted to laugh good- and doing it on time. Certainly, the practice of studio naturedly at the utter incongruity of using this particular The Hunchback of Notre Dame 1939 composers and arrangers working together in such Ave Maria — after all, The Hunchback of Notre Dame is Score restoration/reconstruction by John Morgan fashion, and always under the watchful eye of the music set a century before Victoria flourished — the film music director, was hardly unique in the 1930s and 1940s. “To scholar agreed it fit the picture perfectly. So does the text, Beau Geste 1939 the contrary, it was quite typical of the time,” William which wonderfully mirrors much of what poor Esmeralda Score reconstruction by William Stromberg Rosar said. “Newman routinely got help from others, but herself prays for in the film: “Holy Mary, Mother of God, the scores were still, by and large, his work.” Of hearty pray for us sinners now and at the hour of our death. All About Eve (Suite) 1950 collaborations in the realm of film music, Fred Steiner Amen.” (Hugo Friedhofer, ever the wit, once quipped has added knowingly: “It didn’t just happen in the 1930s, that the perfect score for The Hunchback of Notre Dame Of all the talented, groundbreaking composers who busied and 1950s — literally and figuratively. Although he wrote ’40s and ’50s, either. In fact, it’s still going on today!” should be “quasi-modal.”) themselves during Hollywood’s golden age, Alfred in a richly romantic idiom that owes much to Richard Happily, such matters need not keep one from Critics have praised RKO’s The Hunchback of Notre Newman was perhaps the most powerful, most influential Strauss, Newman shaped it in such a successful manner enjoying this masterful score — and the score did prove Dame as one of the finest examples of studio expertise and certainly most insightful. Yet, for all the praise that many other composers in Hollywood quietly adopted winning, beginning with executives at the top. One of ever. The studio system was one Newman thrived in, lavished on his vast work as a composer, conductor and similar stylistic tendencies (though precious few Arthur Morton’s happiest memories in the business most significantly during his twenty years at 20th administrator, Newman has received scant attention in succeeded in furnishing scores that functioned as well as involves Newman at one point sitting down at a piano on Century-Fox. Tellingly, after that system fell into decay the recent spate of film-music re-recordings. At least one his). Today long-dead film composers with particularly an empty sound-stage and performing the score’s most at the end of the 1950s (hastened by a disastrous reason involves the films he scored. Many were top-flight individualistic styles — Erich Korngold, Bernard infectious themes for RKO producer Pandro S. Berman musicians’ strike), Newman left 20th Century-Fox rather productions in their day, but they now lack the Herrmann, Dimitri Tiomkin and Max Steiner spring to and his secretary. “And they swooned,” Morton recalled. than preside over further gutting of its music department. enthusiastic, faithful followings boasted by Warner Bros.’ mind — cannot help standing out against the standard so “Now, Alfred, being an astutely pragmatic man, played In the decade that followed, he continued to show vivid Errol Flynn swashbucklers and Humphrey Bogart film- firmly set by Newman from his perch as music director that lovely theme for Esmeralda over and over, that and talent in such scores as The Greatest Story Ever Told, noir classics, Universal’s vintage monster movies and the at 20th Century-Fox. This may well be why their music the poet’s soul theme. Alfred was a great salesman. You How the West Was Won and Airport, though friends such special effects-packed Ray Harryhausen spectaculars. — so different from that Hollywood norm — is also given know, I don’t think anyone was better suited for film as Fred Steiner note he continued to lament the passing of “What attracts so many people isn’t just the music but more attention today. In any case, the neglect Newman’s music than Alfred.” those days when studio music departments thrived and the film itself,” conductor and composer Fred Steiner, film music experiences is unwarranted, especially And despite the fact Newman had earlier scolded often triumphed, even in the face of crushing deadlines foremost expert on Newman’s music, lamented in 1996, considering such soaring, swashbuckling scores as Morton for temp-tracking the film with classical pieces, and musically ignorant studio heads. more than a quarter-century after Newman’s death. Captain from Castile (1947) and Prince of Foxes (1949), Newman shrewdly zeroed in on Morton’s wonderful “Some of the films Alfred Newman scored then don’t religious dramas such as The Song of Bernadette (1943) notion of using the last part of Victoria’s Ave Maria to Bill Whitaker, 1997 have drawing power today. Wuthering Heights may be and The Robe (1953) and gargantuan epics such as The OK, but whoever heard of Beloved Enemy? It’s not like Hunchback of Notre Dame (1939). the popularity of The Adventures of Robin Hood or Gone Considering the huge number of films Newman scored A loud and joyous ringing of bells in thanks to the many individuals and organizations with the Wind. Of course, then again, the last thing we all and the quality he sustained till his death in 1970, it’s making this recording possible … need is another re-recording of Gone with the Wind!” remarkable he approached composing with such Mark Frisbie, Ned Comstock (University of Southern California), Brigitte J. Kueppers (UCLA Research Library), One can also argue that Alfred Newman’s wonderful reluctance. Yet he did. “Newman worked on a total of Ray Faiola, James V. D’Arc, Mary Jo Menella (20th Century-Fox), Karen Smith (Jo Ann Kane Music), Frederick scores have been handicapped by the very fact he so 225 films and toward the end admitted that it was too Steiner, William Rosar, David Schecter, Kathleen Mayne, Bourne Music Publishers, Bob Burns, Tony Thomas, effectively set the tone for much film music of the 1940s much to have done,” author, producer and long-time Clifford McCarty, Ann Whitaker and Arthur Morton. 8.570187 2 11 8.570187 570187bk Hunchback:570183bk Son of Kong 15/7/07 8:09 PM Page 12

John Morgan Widely regarded in film-music circles as a master colourist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, and has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. William Stromberg A veteran film composer, conductor and film archivist, William Stromberg, working with famed film music reconstructionist and composer John Morgan, has conducted numerous albums of film music for RCA, Naxos, Marco Polo and, most recently, Tribute Film Classics. Upcoming albums include the complete scores to Bernard Herrmann’s Mysterious Island, Max Steiner’s She and Herrmann’s The Kentuckian. Moscow Symphony Orchestra Founded in 1989 as the first independent orchestra in modern Russia, the Moscow Symphony Orchestra maintains a busy schedule both in the concert hall and recording studio. For more than a decade, it has become noted for its pivotal role in a long-running series of recordings devoted to classic film scores conducted by Hollywood composer William Stromberg. Their most recent collaboration was the complete film score for Erich Wolfgang Korngold’s The Sea Hawk (Naxos 8.570110-11).

From left to right: Recording engineers Vitaly Ivanov and Edvard Shakhnazarian, conductor William Stromberg and arranger John Morgan

8.570187 12 Playing Time

8.570187 FILM MUSIC CLASSICS 63:43 8.570187

DDD NEWMAN: The Hunchback of Notre Dame (1901-1970)

www.naxos.com Made in Canada ൿ ALFRED NEWMAN 1997 & The Hunchback of Notre Dame 1 1939 2 Ꭿ Beau Geste 1939 • All About Eve 1950 2007 Naxos Rights International Ltd. 2007 Naxos Rights International 1 Restored/Reconstructed by John Morgan • 2 Reconstructed by William Stromberg Moscow Symphony Orchestra & Chorus* conducted by William Stromberg

1 All About Eve – Suite 4:39 @ The Festival 1:06 # In the King’s Box 1:19 Beau Geste 20:10 $ The Dance of Death 0:52 2 Prelude 1:52 % Garbage at Gringoire 0:40 3 The Early Years 3:32 ^ Esmeralda’s Dance 2:30 4 Chasing a Mouse 1:38 & Thank You Mother of God 4:58 5 Blue Water Sapphire—Farewell 3:55 * Whipping 2:38 6 March Out 0:54 ( Esmeralda Walks up Steps 4:11 7 Battle 3:16 ) A Woman Has Bewitched Me 3:29 8 A Viking’s Funeral* 3:46 ¡ Hallelujah* 0:58 9 Finale—End Cast 1:20 ™ Esmeralda in Bell Tower 2:43 £ Clopin Calls Charge 4:04 The Hunchback of ¢ Victory at Notre Dame 3:07

NEWMAN: The Hunchback of Notre Dame The Hunchback of Notre NEWMAN: Notre Dame 38:47 ∞ Clopin on Ground—Hallelujah 0 Main Title and Foreword* 1:47 Reprise* 2:30 ! The Gypsies 1:14 § End Cast 0:47 8.570187 Recorded at Mosfilm Studio, Moscow, Russia, in October 1996 • Producer: Betta International Recording Engineers: Edvard Shakhnazarian, Vitaly Ivanov • Music Notes: Bill Whitaker Design: Ron Hoares • Cover image: Notre Dame de Paris after the storm (Mauro Bighin / Dreamstime.com) Previously released on Marco Polo 8.223750