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Download Booklet 225217bk Red River 31/3/03 9:21 pm Page 32 Special Acknowledgment ... Olivia Tiomkin Douglas James Douglas Jovanka Ciares (EMI Music Publishing) Ned Comstock Steve Hanson (USC Cinema-Television Library) Claire (Eddie Brandt’s Saturday Matinee) James V. D’Arc (Brigham Young University’s Film Music Archives) Eric Stonerook (Stonerook Music) Stacey Behlmer (Academy of Motion Picture Arts and Sciences) Patrick Russ Rudy Behlmer Ray Faiola Jackie Smith Bob Fredricks 225217bk Red River 31/3/03 9:21 pm Page 2 Great Film Music on Marco Polo with William Stromberg & John Morgan SIR MALCOLM ARNOLD HANS J. SALTER & FRANK SKINNER David Copperfield • The Roots of Heaven Son of Frankenstein • The Wolf Man 8.225167 The Invisible Man Returns 8.223747 ADOLPH DEUTSCH The Ghost of Frankenstein • Son of Dracula The Maltese Falcon • Northern Pursuit Sherlock Holmes and the Voice of Terror The Mask of Dimitrios • High Sierra Black Friday • Man Made Monster 8.225124 George Washington Slept Here 8.225169 MAX STEINER HUGO FRIEDHOFER King Kong 8.223763 The Adventures of Marco Polo • The Lodger The Lost Patrol • Virginia City The Rains of Ranchipur • Seven Cities of Gold The Beast with Five Fingers 8.223870 8.223857 They Died With Their Boots On 8.225079 BERNARD HERRMANN The Treasure of the Sierra Madre 8.225149 Garden of Evil • Prince of Players 8.223841 Son of Kong • The Most Dangerous Game The Snows Of Kilimanjaro • 5 Fingers 8.225166 8.225168 FRANZ WAXMAN BERNARD HERRMANN & ALFRED Mr Skeffington 8.225037 NEWMAN Objective, Burma! 8.225148 The Egyptian 8.225078 ROY WEBB ERICH WOLFGANG KORNGOLD Cat People • Bedlam • I Walked With A Zombie Escape Me Never • Another Dawn 8.223871 The Body Snatcher • The 7th Victim 8.223857 Devotion 8.225038 VICTOR YOUNG ALFRED NEWMAN The Greatest Show On Earth • Bright Leaf The Hunchback of Notre Dame The Uninvited • Gulliver’s Travels 8.223857 Beau Geste • All About Eve 8.223750 ‘Murder & Mayhem – Great Horror Scores PHILIP SAINTON from Hollywood’s Golden Age’: Moby Dick (Complete) 8.225050 MAX STEINER: The Beast With 5 Fingers HANS J. SALTER & PAUL DESSAU VICTOR YOUNG: The Uninvited House of Frankenstein (Complete) 8.223748 HUGO FRIEDHOFER: The Lodger 8.225132 8.225217 2 31 8.225217 225217bk Red River 31/3/03 9:21 pm Page 30 William Stromberg A native of Oceanside, California, who hails from a and conducting film scores from Hollywood’s Dimitri Tiomkin family of film-makers, William T. Stromberg Golden Age, including several works recorded for 1948 balances his career as a composer of strikingly vivid RCA with the Brandenburg Philharmonic. For RED RIVER film scores with that of a busy conductor in Marco Marco Polo, he has conducted albums of music Score restorations by John Morgan Polo’s Classic Film Score Series. Besides devoted to Max Steiner, Erich Wolfgang Korngold, Moscow Symphony Orchestra & Choir conducted by William Stromberg conducting his own scores—including his recent Alfred Newman, Philip Sainton, Adolph Deutsch, music for the thriller Other Voices and the Hans J. Salter, Victor Young and Malcolm Arnold. documentary Trinity and Beyond—Stromberg He has also conducted several much-praised albums 1 Main Title 1:30 ) Cottonwood Justice 0:59 serves as a conductor for other film composers. He devoted to concert works by American composers, 2 Dunson Heads South 4:47 ¡ Dunson Swears Vengeance 1:24 is especially noted for his passion in reconstructing including two albums of music by Ferde Grofé. 3 Red River Camp 1:29 ™ Comanche Arrows 0:40 4 The Red Menace Strikes 1:34 £ In Wait 1:35 5 The Lone Survivor 2:15 ¢ Fight for Life 2:20 6 Birth of Red River D 3:15 ∞ Vigil in the Night 1:01 7 Mexican Burial 0:58 § Foggy Night Surrender 1:54 8 Growth of the Dunson Empire 1:46 ¶ The Spectre Takes Form 0:43 9 Roundup 0:27 • Interlude 0:22 0 Suspense at Dawn 1:07 ª Out of the Past 1:47 ! On to Missouri 1:36 º Memory of Love 1:31 @ The Drive moves North 3:04 ⁄ A Joyous Meeting 1:53 # The Brazos Trail 0:31 ¤ Approach to Abilene 1:50 $ Stampede 2:46 ‹ A Big Day of Abilene 1:40 % The Missing Cowboy 2:36 › The Spectre Closes In 1:02 ^ Latimer Burial 1:01 fi A Message for Matt 2:50 & Thunder on the Trail 0:45 fl The Challenge 3:22 * Red River Ahead 1:26 ‡ The New Brand 2:22 ( Red River Crossing 2:01 Left: Lobby card with Montgomery Clift and Joanne Dru 8.225217William Stromberg conducting the Moscow Symphony Orchestra 30 3 8.225217 225217bk Red River 31/3/03 9:21 pm Page 4 Conductor’s Preface Finally, I get to conduct music by Tiomkin, a man brass players had a good time with it, and gave me who composed scores with a particularly unique funny looks from time to time. With this score for sound. I think it is uncanny the way in which a Red River and many others, he took advantage of composer can sound like himself, whatever the his memorable thematic material, reprising the subject matter of a particular project he is working main themes often but always with interesting on. It struck me, as I was conducting this music, variation. All of these traits give Tiomkin’s music that not only do composers, in general, not write that identifying quality. music like this any more, but there also seems to be I became familiar with Tiomkin’s music when I a lack of individual style among film composers was about nine years old. I had a reel-to-reel tape today compared with the golden age composers. with scores from The Alamo and The Guns of Tiomkin’s style was a very bold orchestral Navarone that I pretty much wore out. I think this is sound, using dynamics (loud and soft) with thick when I first felt the desire to re-create a block chords to great advantage. Also, he often performance of a score. I tried writing out part of used soloists from every section in the orchestra, the battle music from The Alamo for our school playing completely different lines, thereby making band, but it proved far too difficult for our group to the music seem almost chaotic at times. For handle. Little did I know that some day I would be instance, he would use a soft solo violin obbligato conducting his music with the Moscow Symphony over the entire tutti orchestra—all playing very Orchestra. That desire never left me, and now that we have recorded Red River, I feel somewhat softly. This creates a very thick and intense sound, fulfilled. However, I’d like to do more of his music. but still seeming almost distant. He is also known for his use of loud flutter-tongue in the brass William Stromberg section, which creates a brash, painful sound. Our December, 2002 There Once Was A Cowboy From Russia … Sounds like the opening of a Saturday night bar Hollywood music. joke, doesn’t it? But it isn’t. There really once was a When I learned that composers John Morgan cowboy who hailed from the land of borsch soup and Bill Stromberg were going to Russian to record and babushka dolls. His name was Dimitri Tiomkin Red River as part of their ongoing Hollywood and he was one of the finest Hollywood composers classics series with the Moscow Symphony of the 1940s and 1950s; the golden age of Orchestra, I was thrilled to be able to tag along and 8.225217 4 29 8.225217 225217bk Red River 31/3/03 9:21 pm Page 28 music, the orchestra accompanied the chorus right cow bell. There is one piano, doubling celeste, one be an audience of one during recording sessions that themes of all the greats from Tchaikovsky to to the end of the cue. Since the chorus and orchestra harp and strings. (As usual for scores of this period, took place at Mosfilm the last week of February Rachmaninov and Prokofiev in the pages before were recorded separately and then combined the strings were under-built in relation to the other 2002. them. In other words, they saw it as Russian music, together at a later mix, Tiomkin made the decision instruments, so for this recording we utilized a Listening to this gifted assembly of musicians period. Absolutely amazing. to fade out the orchestra early and have the chorus larger string section to better balance the sound playing Tiomkin’s cues was a truly unforgettable The highlight of the entire week came on the complete the music, a cappella. The acetates have acoustically.) Finally, a full choir, banjo, and experience. Never once did I lose track of the fact third day of recording when a thirty-man Russian the orchestra going until the end and only by way of accordion are used in several sequences. that we were working in the very place where the choir arrived to do the cue “Get Along Little the film’s soundtrack does one realize what Both Bill Stromberg and I felt a certain deja vu young Tiomkin’s career had first blossomed. Day Doggies.” Since none of them spoke English, they Tiomkin did by letting the beauty of Jester while recording this score. We were doing it in after day I listened to sweeping, emotional music would sing the words phonetically. As the choir Hairston’s choral arrangement end the cue. It is a Russia with Russian musicians who immediately that so brilliantly showcased the American west and director began warm-up sessions, I milled about magical moment.
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