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The Maltese Falcon 557701bk Maltese Falcon 14/12/04 8:56 PM Page 12 and developed with clear and concise writing. We have Both Bill Stromberg and I are gratified that with included Deutsch’s original ending, which included the this Marco Polo Film Music Series we are able to four-note Victory motif based on Beethoven’s 5th present both the well-known classics and the sadly Symphony, but was subsequently dropped for the final neglected scores by some of the most talented released version of the film. composers of Hollywood’s Golden Age. John Morgan John Morgan Unrivaled in the difficult realm of film-music reconstruction, veteran film composer John Morgan has spent the past decade restoring classic golden-age scores such as King Kong, House of Frankenstein, The Adventures of Robin Hood, Objective Burma, Moby Dick, The Uninvited, The Hunchback of Notre Dame and The Adventures of Mark Twain. Widely regarded as one of Hollywood’s most gifted orchestrators, Morgan has also won praise for his own film scores, including for the celebrated atomic bomb documentary Trinity and Beyond and, more recently, Starship Troopers 2: Hero of the Federation. Morgan most recently scored a documentary about his longtime friend, special-effects pioneer Ray Harryhausen. William Stromberg Equally at home in the European concert hall, Hollywood soundstage or Moscow recording studio, William Stromberg is diverse in his musical pursuits. During the past decade, he has toured as a conductor with the rock group Yes; recorded massive, complex, golden-age film scores with the Moscow Symphony Orchestra; helped introduce lesser-known scores by overlooked American composers such as Ferde Grofe, Robert Russell Bennett and Meredith Willson; and, in collaboration with friend and associate John Morgan, composed scores for films ranging from the documentaries Nukes in Space and Atomic Journeys to the science-fiction caper Starship Troopers 2: Hero of the Federation. Moscow Symphony Orchestra Founded in 1989, just as communism was collapsing throughout Eastern Europe, the Moscow Symphony Orchestra is the first orchestra in Russia to be funded through private resources and free of state support. Under famed conductor Antonio de Almeida, the orchestra tackled adventurous repertoire, ranging from the symphonic works of Azerbaijani composer Fikret Amirov to a first-ever survey of Italian master Gian Francesco Malipiero’s symphonies. The orchestra is best-known for its groundbreaking work with conductor William Stromberg, recording golden-age film scores for Naxos and Marco Polo. The series includes scores for The Treasure of Sierra Madre, They Died With Their Boots On and King Kong, all composed by Max Steiner. NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 557701bk Maltese Falcon 14/12/04 8:56 PM Page 2 Adolph Deutsch (1897-1980) Dimitrios had a much larger music budget, the this cue.Velma’s Plight starts and ends with a very composer had more opportunities with regard to a Steiner-like cakewalk, reminiscent of the composer’s larger orchestra, much more music, as well as the Mammy theme from Gone With The Wind (1939). This The Maltese Falcon nature of the story, which allowed Deutsch to compose merges into the “star” music with its celestial sounds of and other classic film scores, 1941-1944 various themes for several characters, locales and high violins accompanying two solo violins. Score restorations by John Morgan situations. The orchestra was a large one, including Shimmering effects are provided by woodwinds, three flutes (doubling alto flute and piccolo), two oboes celesta, vibraphone and other ethereal-sounding Adolph Deutsch Rediscovered (doubling English horn), four clarinets (doubling bass instruments. This sequence accompanies a wistful, clarinets and various saxophones), and two bassoons romantic encounter between Roy Earle (Humphrey When recalling Warner Bros. composers for dramatic personal contract early in 1937. Four out of five of the (with one doubling contra bassoon). The brass Bogart) and Velma Goodhue (Joan Leslie) under a star- scores during the “golden age” of the 1930s and 1940s, first films Deutsch scored at the studio were directed consisted of four French horns, four trumpets, four filled night sky. We also restored a chunk of music to Max Steiner, Erich Wolfgang Korngold, and Franz and/or produced by LeRoy. When LeRoy left Warners trombones, tuba and euphonium. Six percussionists the final cue, Apprehended, when further editing of Waxman (1940s) immediately come to mind. They to go with M-G-M in late 1937, Deutsch’s contract was were required to play all the standard battery in addition the film eliminated some of this music. were the “stars” who received the choice assignments assigned to Warner Bros. He had never been under to two vibraphones and two marimbas, which added the (along with ones not-so-choice). And, of course, the contract to a Hollywood studio before, although he did dashes of exotic color. Two harps, two pianos, celesta, Although Northern Pursuit was a minor war-time Errol venerable Ray Heindorf was always heavily involved collaborate with Vernon Duke in 1930 on the scores for Novachord and strings complete the orchestral Flynn vehicle, it was bolstered by an exciting score with the musicals in usually multiple capacities, later the foreign version of two Paramount features, The makeup.We have replicated the original orchestrations with a large orchestra, which includes three flutes becoming head of the music department after Leo Dance of Life and Honeymoon (part two of The for this and the other films on this album, although a (doubling alto and piccolo), two oboes (one doubling Forbstein died in 1948. Wedding March). portion of Dimitrios had to be reconstructed because of English horn), three B flat clarinets, two bass clarinets, But there were many other fine composers at Ironically, Deutsch’s rich musical background had missing scores. two bassoons (one doubling contra) and four Warners during at least some of those years – among little to do with the bulk of his Warner scores – dramas The colorful characters and exotic locales certainly saxophones (two alto, one baritone and one tenor). The them Bernhard Kaun, Heinz Roemheld, Frederick of mystery, adventure, and violence. Orchestrator and piqued Deutsch’s imagination and he matched the brass consists of four French horns, four trumpets, four Hollander, and the distinguished Adolph Deutsch, who music critic Lawrence Morton said of Deutsch’s atmosphere on the screen with his ethnically imbued trombones and one tuba. Five percussion players are was under contract at the studio from 1937 to late 1945. Warner period that “any overall description of his music. required as well as two pianos, celesta, harp, novachord During those years he composed original scores for music [at that time] must include such terms as bold, and strings. such pictures as They Won’t Forget (1937), The complex and thick-textured, dissonant, sonorous, High Sierra is the earliest Deutsch score recorded for Following the traditional Warner Bros. fanfare, we Fighting 69th (1940), They Drive By Night (1940), All fragmentary in thematic material and rich in this album. Although not a high-budget A film, High are plunged into the strong Pursuit theme utilizing the Through the Night (1942), Across the Pacific (1942), developmental processes.” Sierra has become a classic and is far better known than full orchestra with an emphasis on brass. The next cue, Action In the North Atlantic (1943), Three Strangers Yet just before coming to Warners, Deutsch had many prestigious films of the period. Filled with Submarine, takes us to the icy regions of Canada with (1946), and Nobody Lives Forever (1946). spent over three years as a composer-arranger and memorable melodies and strong themes, it is certainly atmospheric music replete with inventive orchestration For this CD, five of his first-rate Warner scores associate music director with famed orchestra leader Deutsch’s most “Steinerish” music on this album, and weird harmonies. This section perfectly captures have been selected to provide a musically varied cross- Paul Whiteman’s radio and concert music. This period reminding one of the general style Steiner utilized for the landscape as well as the sense of tension and evil section and overview of his work. There are two included 39 weeks on The Kraft Music Hall network some of his late 1930s crime dramas (Angels With Dirty heading towards our Northern allies. We have a brief milestone Bogart films: The Maltese Falcon (1941) and radio program and one year on Paul Whiteman’s Faces, Crime School, etc.) The Main Title presents respite in Consultation and our first encounter with the High Sierra (1941); one Errol Flynn adventure, Musical Varieties network radio show. In the early The Sierras theme in thick, bold orchestration that is village in a light-hearted Korngoldian manner, Northern Pursuit (1943); a Jack Benny-Ann Sheridan 1930s Deutsch had freelanced on Broadway, both majestic and haunting. The following cue, The complete with sleigh bells, glockenspiel, virtuoso comedy, George Washington Slept Here (1942); and orchestrating and conducting for such musicals as Pardon, has been restored to Deutsch’s original woodwinds and string writing. The rest of our suite is the mysterious and exotic Mask of Dimitrios (1944). Pardon My English (Gershwin), As Thousands Cheer intentions, as the scene was edited down a bit and the derived from the prison camp escape and final battle Warners’ Mervyn LeRoy signed Deutsch to a (Irving Berlin), and Jumbo (Rodgers and Hart). Earlier, composer was forced to shorten and rewrite a portion of sequences, utilizing common thematic material, varied 8.557701 2 11 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 10 The Maltese Falcon is a classic film by any definition. George Washington Slept Here shows Deutsch’s during the 1920s, he turned out arrangements for such busy.
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