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The Hunchback of Notre Dame 1939

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The Hunchback of Notre Dame 1939 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 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 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.
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