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Moscow Symphony Orchestra Home base for Marco Polo’s critically acclaimed Classic Film Score Series, the Moscow Symphony Orchestra has won plaudits for its versatility, tackling everything from orchestrations of beloved rock classics to soundtracks for movies to such intriguing projects as the first-ever cycle of symphonies by Malipiero. It has given numerous performances of classic works by Scriabin, Rachmaninov and Tchaikovsky and remains one of the busiest orchestras in Russian recording studios today. In reviewing the much-awaited première recording of Bernard Herrmann’s hypnotic score for Garden of Evil (8.223841), conducted by William Stromberg, Mark Koldys of American Record Guide praised it as “a valuable document and a richly rewarding musical experience … easily a contender for the film-music release of the year,” while Gramophone touted it as “an exceedingly welcome issue.” Of the team’s recording of Herrmann’s The Egyptian (Naxos 8.557702), Koldys wrote that “the Moscow ensemble might as well be the 20th Century Fox studio virtuosi, so closely have they replicated that orchestra’s distinctive sound. There isn’t a false step in the pacing, the playing or the superlative sound.” And Andy Cooper of The Leader-Post praised the recording as “a beautifully recorded performance.” William Stromberg A native of Oceanside, California, who hails from a family of filmmakers, William T. Stromberg balances his career as a composer of strikingly vivid film scores with that of a busy conductor in Marco Polo’s Classic Film Score Series. Besides conducting his own scores – including his recent music for the thriller Other Voices and the documentary Trinity and Beyond – Stromberg serves as a conductor for other film composers. He is especially noted for his passion in reconstructing and conducting film scores from Hollywood’s Golden Age, including several works recorded for RCA with the Brandenburg Philharmonic. For Marco Polo and Naxos, Stromberg has conducted albums of music devoted to Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Philip Sainton, Adolph Deutsch, Hans J. Salter, Victor Young and Sir Malcolm Arnold. He has also conducted several much-praised Naxos albums devoted to concert works by American composers, including two albums of music by Ferde Grofé. Most recently (2008), he led the Moscow Symphony Orchestra in a massive re- recording of Bernard Herrmann’s Mysterious Island for his and John Morgan’s own label Tribute Film Classics. He is currently preparing a new re-recording of Herrmann’s The Kentuckian, also for Tribute Film Classics. John Morgan Widely regarded in film-music circles as a master colorist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working as an orchestrator alongside such composers as Alex North, Bruce Broughton and Fred Steiner before embarking on his own composing assignments. Among other projects, he co-composed the richly dramatic score for the cult-documentary film C Trinity and Beyond, described by one critic as “an atomic-age Fantasia, thanks to its spectacular nuclear explosions and powerhouse music.” In addition, Morgan has won acclaim for efforts to rescue, restore and re- record lost film scores from the past, including Hans J. Salter’s spooky House of Frankenstein, Hugo Friedhofer’s M moving The Rains of Ranchipur, Roy Webb’s Cat People and Max Steiner’s The Most Dangerous Game. More recently, Morgan and conductor William Stromberg with the Moscow Symphony Orchestra recorded Y Bernard Herrmann’s Fahrenheit 451 and Walking Distance for their own Tribute Film Classics label. K 8.570186 8 570186bk Snows:570183bk Son of Kong 15/1/08 5:49 PM Page 2

Bernard Herrmann (1911–1975) deviates from the evocation of Harry’s weary, well – even if I say so. Zanuck was most flattering delusional awareness. She eventually breaks through about the music and keeps telling everyone how grand Music for the films after Harry has transited his history with Cynthia in a job I did. flashback; the cue ^ Helen presents new thematic Herrmann then returned his attentions to his The Snows of Kilimanjaro 1952 material, which is long and hopefully lyrical [0:18— magnificent obsession, Wuthering Heights, a project 2:37]. But here is the only chance these ideas have, which was to occupy him the rest of the year. That the 5 Fingers 1952 for Harry soon sinks into the delirium of blood opera would not be staged during his lifetime probably Score restoration by John Morgan poisoning. The oppressive music reasserts itself as would have struck him as appalling and outrageous in Helen begins the death vigil. But, in true Hollywood 1952; letters following the steady stream of rejections fashion, contract players could never face such a grim grew more and more indignant and cynical. Meanwhile The Films end: so a plane arrives, and with a sudden, lurching he worked at what he considered “Plan B”: Hollywood The Snows of Kilimanjaro – popular at the time with interweaving stories are told in flashback. turn the ) Finale rejoices at Harry’s impending films, which would bring him the lasting renown he both critics and audiences – offered the major The finest cast and crew were assembled for recovery – and resuscitated love life. envisioned only in relation to his opera. The elegant ingredients that Darryl Zanuck deemed necessary for Darryl Zanuck’s only personal production of 1952. On 19th June, Herrmann drew the double bar on craftsmanship of 5 Fingers and The Snows of success: showmanship, sex, and adventure. Gregory Peck and Susan Hayward had appeared the Finale. Recording sessions followed on 23rd and Kilimanjaro tempt one to wonder what other concert The story of a man searching for meaning in his together the year before in the highly successful David 24th June and on 1st July. In the following week the works might have been created had Herrmann not so life was a recurring theme in Darryl F. Zanuck pro- and Bathsheba, directed by Snows director Henry soundtrack was mixed and the contract was closed on singly focused on the opera. Though we will never ductions. He had already used it in The Razor’s Edge King. King had also just directed Hayward in I’d 8th July. know, we do have these films – and many others that and would do so again two years later in his multi- Climb the Highest Mountain. Hayward and King Herrmann wrote his lawyer, L. Arnold Weiss- followed – to appreciate his unique style. million dollar production of The Egyptian. But in all would later work on the Fox epic, Untamed. berger, on 21st July 1952: I have just finished The three films he loaded the message with adventure and Gregory Peck and King were old friends – they Snows of Kilimanjaro and my how worn out I am. Ten Christopher Husted daring sex scenes – everything to keep the audience had already worked together on Twelve O’Clock High, full weeks of very hard work, but it turned out very Manager, Bernard Herrmann Music coming back for more. The Gunfighter, as well as David and Bathsheba. King The story begins at a hunting camp beneath the would later direct Peck in such hits as The Bravados mountain of Kilimanjaro in Africa. Harry Street and Beloved Infidel. (Gregory Peck) is lying dangerously near death after Zanuck had long wanted to bring this film to the a hunting accident, attended only by his wife, Helen screen but waited five years for the right script. Casey (Susan Hayward), who has come on the trip hoping Robinson finally wrote one that he liked, but he that Harry will learn to love her. liberally borrowed from The Sun Also Rises and other The story is told as Harry spends his time looking Hemingway stories, so much so that Hemingway back on his life, telling Helen about Connie (Helene complained about it. Hemingway hated the film, Stanley), his first love; his tragic relationship with particularly the hopeful ending (in his story Harry Cynthia (Ava Gardner), who lost a child and left him dies). He referred to it as the “Snows of Zanuck.” But rather than holding him back; his affair with “Frigid Zanuck knew what would make a popular picture. Liz” (Hildegarde Neff); and his subsequent search for Henry King was one of Zanuck’s favorite Cynthia. directors. He had everything – he was good at the big We then come to his relationship with Helen, who moments - look at the color and sweep of The Black Grateful thanks to … thought she could buy his love. As Helen and Harry Swan, Captain from Castile, Prince of Foxes, King of 20th Century Fox, Joanna Beck (Jo Ann Kane Music), Bill Whitaker, Steven C. Smith, Anna Bonn, Rudy come to terms on the plains of Kilimanjaro, the the Khyber Rifles, and Untamed. But he was also good Behlmer, John W. Waxman 8.570186 2 7 8.570186 570186bk Snows:570183bk Son of Kong 15/1/08 5:49 PM Page 6

adventure: in Cicero he opened his relationship with Harry’s idealised love for Cynthia is fastened first to at getting intimate performances from the best actors minute Zanuck decided it was too long. He and Susan the Germans, in The Pursuit, he abruptly closes it. a brief statement of what will become associated with in such films as The Song of Bernadette, Love is a Hayward had recently had a falling out and much of Herrmann completed the 84 pages of full score on his first meeting with Cynthia near Notre Dame Many Splendored Thing, and I’d Climb the Highest her footage was left on the cutting room floor. 9th December 1951 and recorded the score on 26th, Cathedral, and then to a lyrical love theme. This is the Mountain, to name but a few. He needed both of these The icing on the cake was supplied by composer 27th and 28th December. After the mixing wrapped layout of 2 Nocturne, with the love theme stated first qualities to bring The Snows of Kilimanjaro to the Bernard Herrmann. He was brought to Fox by his on 11th January 1952, Herrmann traveled to New by the oboe [0:24—1:16] and then by violins [1:16— screen. friend Orson Welles in 1943 to score Jane Eyre. For York. There he sounded-out the Metropolitan Opera 2:03]. This is recapitulated later in a fabulous re- Lyle Wheeler was brought in to design the sets. Snows, Herrmann got to use his widest pallette for a about Wuthering Heights and extended his leave-of- orchestration in $ The River. A gravely drunken His hands were full constructing elegant villas on the film that called for music of action, young love, tragic absence status as a conductor at CBS Radio – his way Harry has returned to the bridge near Notre Dame Riviera, a bridge on the Seine, Spanish bullrings, love, mature love, and music that could convey the of keeping his conducting tie there on hold in the event where he first romanced Cynthia. While he stares into battlefields, a Michigan hunting lodge and African mystery of Africa, including the final resolution made of renewed interest in the orchestra. He returned on the river he is approached by Helen, whom he mistakes hotels and hospitals. under the mountain on the African plain. 22nd April 1952 to begin work on The Snows of for Cynthia, and is overcome. The scoring of the Part of the The Song of Bernadette village was In 1951, Darryl Zanuck and director Joseph Kilimanjaro. Years later Lyn Murray – once one of opening river theme features two harps playing used for the streets of Paris. The interior of Frigid Liz’s Mankiewicz were riding high. Their film from the year Herrmann’s closest friends – discussed the composer’s arpeggiated chords; the cadences are twisted by villa would later be used for My Cousin Rachel, The before, All About Eve, had been a critical and popular working method with director Henry King: unexpected tritone-related chords, which create a Robe, Demetrius and the Gladiators, and Three Coins success. It won the Academy award for Best Picture King seemed very impressed with Herrmann. We strikingly mysterious mood. This frame demarks the in the Fountain. The hunting lodge set would later and was nominated for a total of fourteen awards. talked about the score for The Snows of Kilimanjaro. opening and closing of Harry’s connection to Cynthia; make appearances in The President’s Lady and How to Mankiewicz usually liked to write his own scripts, Herrmann ran the picture with King and everyone else the scene at the river with Helen ends the cycle of Marry a Millionaire. but he found a script at Fox that he thought was who attends the music run. Benny asked King if he flashbacks in the plot. The biggest challenge was the building of Fox’s wonderful called Operation Cicero (later retitled 5 would mind running the film again with him. They did. Another frame enclosed within the previously largest cyclorama that would depict the hunting camp Fingers). All he thought it needed was the Mankiewicz And the next day once more. After two lunches and discussed one concerns another problem in the with Kilimanjaro in the background. It was the studio’s touch to give it sex, humour, and pace. Zanuck agreed, the two runnings they had discussed every aspect of the narrative: Cynthia’s desperation at losing Harry’s love. largest up to that time and filled an entire soundstage. as long as Mankiewicz took no credit on the music. This was very smart on Benny’s part – any The problem fastens to a sequential formula which The cyclorama was so large that the Los Angeles screenplay. Mankiewicz was delighted at the prospect offbeat ideas in the music would be presold. No first emerges in 4 Adagietto [1:09—1:48], and a Philharmonic auditorium was rented for space just to of making a film about people who have no redeeming surprises. lyrical theme [0:44—1:09 and 1:48—2:21]. Here sew it together. qualities. Everyone is out for what they can get. Composition began on 11th May and continued at Cynthia confesses to their safari guide the nature of Both Zanuck and King envisioned a film full of James Mason was cast as Danilo, the servant and Herrmann’s North Hollywood home for 39 days the crisis she has entered. This music returns later mood and dark lighting effects. For this, Fox spy who is selling secrets to the Nazis for one reason through sketches and 97 pages of full score. The when Harry finds Cynthia dying on a Spanish battle- cameraman Leon Shamroy was the man for the job. – money – a lot of it. Mason had already made his complex temporal arrangement of the plot results in a field and shares with her a painfully brief moment of Famous for his atmospheric lighting (which won him mark in countless British films when he came to Fox matrix of musical ideas which steadily develop. Not reconciliation in # The Farewell – surely one of the an Academy Award for Leave Her to Heaven), he was to play Rommel in the 1951 film, The Desert Fox. 5 included in this development is the 1 Overture, most laughably histrionic scenes in Hollywood history. the perfect photographer for all of the dark lighting Fingers was his second film for the studio. He then Herrmann’s only allusion to Hemingway’s obsessive Within these frames is the dead center: Harry’s effects depicting the African plain at night, Paris at went to MGM to make two films back to back: the theme of the hunt. Only one recurrence will be found, affair with Liz. No consistent material attaches to her, sunset, and the night life of the City of Lights. remake of The Prisoner of Zenda and the Mankiewicz- and in a highly unusual place: at the end of 6 The though what does is of a suitably luxuriant and showy Cameraman Charles Clarke took a second unit directed Julius Caesar, a film that was originally to Fall, during Cynthia’s hysterical decision to abort their nature (9 Barcarolle, and the 0!Interludes). crew to Paris, the Riviera, and Africa for six months to be scored by Bernard Herrmann but was later assigned child through a fall down the stairway of the hotel. All this is suspended in the plot’s present situation: shoot backgrounds including a charging rhino. The to Miklós Rózsa. The score focuses instead on the passionate nature Harry’s death throes with an infected leg. Helen, whom main shooting on the 20th Century-Fox lot took place Mason was even busier the following year when of Harry’s reminiscence. There are several interesting he has married, proves a worthy opponent in his self- over 48 days. he filmed Prince Valiant, A Star is Born, and 20,000 framing devices operating to organize this narrative. contemptuous acting-out; musically there is little that The film originally ran 153 minutes but at the last Leagues Under the Sea. Mason later returned to Fox 8.570186 6 3 8.570186 570186bk Snows:570183bk Son of Kong 15/1/08 5:49 PM Page 4

for Bigger Than Life, Island in the Sun (another Darryl the film’s stars. This was later cut to the bone by impressive series of flamboyant film scores, easily early on in ™ Cicero, and are usually paired. First, a F. Zanuck production), and Journey to the Center of Zanuck. Filming continued at the Fox studios and was among Hollywood’s most striking achievements. This brief chordal figure for strings with an echoing figure the Earth, which featured one of the finest scores by completed by September, 1951 with the film series begins with On Dangerous Ground, a film for clarinets [0:34—1:05], which repeats in search of Bernard Herrmann. premiering in March 1952. produced by his long-time CBS colleague John resolution; this is usually associated with more Mankiewicz and Zanuck both wanted Danilo to For this thriller, Herrmann produced one of his Houseman at RKO Radio Pictures immediately after declamatory figures for trombones with similar echo be completely amoral – with no allegiance to the darkest scores, one that was to point the way to his the disbanding of the CBS Symphony. Herrmann figures for bass clarinet [1:05—1:15], commenting on Germans or the British, but simply driven by a desire later scores for Hitchcock. Pre-echoes of Vertigo, returned to New York in late January 1951 to conclude Cicero’s traitorous determination (this pairing is re- for money. His only feelings are reserved for a Psycho, and North by Northwest can be heard his New York affairs and came back to Los Angeles peated [1:15—1:41 and 1:41—2:00]. Another figure dissolute countess – a woman who is also out for all everywhere. One piece of music, The Old Street, was five weeks later. He spent the spring completing the emerges in the following cue, £ The Embassy, and is she can get and will do anything for money – including later used in the The Seventh Voyage of Sinbad. full score of his opera Wuthering Heights, a task more wistful. It is stated first by clarinets [0:46—0:59] pretending to love Danilo. The countess was played Another major theme reappears in the dream scene realised on the afternoon of 30th June. At this time he and is then developed in response by the strings by French actress Danielle Darrieux. She had come to from Vertigo. This is the first recording ever of this had just entered into his next film project, The Day [1:00—1:06], capturing Cicero’s nonchalance. A more Hollywood for one film, The Rage of Paris, released dark, brooding score. the Earth Stood Still, which occupied him through aggressive array of motives opens ¢ The Film: first, in 1938. She did not like the place and went back to mid-August. After a month’s break, during which he a declamato figure for low winds [0:00—0:13], acting France. MGM lured her back in 1951 for the musical, Joseph Caporiccio traveled to the East Coast to return his visiting as an introduction for a short figure for English horn Rich, Young and Pretty. Danielle then came to Fox for Joseph Caporiccio has been film and video reviewer daughters to their mother, Lucille Fletcher, he returned which twines upward [0:14—0:28], responded to by 5 Fingers. Still not liking Hollywood, she returned to for Perfect Vision magazine. He later started the to Los Angeles to compose 5 Fingers. strings and bassoon [0:29—0:42]. These are usually France for a long career in films. Pioneer Special Editions label for laserdisc and was This task began on 23rd October. In a story told by associated with Cicero’s ambitious plans to exploit his Joe Mankiewicz took a camera crew in June 1951 responsible for stereo restorations of The Ten Hugo Friedhofer, Herrmann attended the first “spotting access to the government documents, and returns at to Istanbul to film the background footage and to film Commandments, The Seventh Voyage of Sinbad, session” of 5 Fingers with Darryl Zanuck and director the opening of Dreams and Departure. a long and involved chase sequence, using doubles for Mysterious Island and many others. Joseph Mankiewicz to determine where music was The abortive love theme emerges appropriately needed in the film. When Zanuck began to tell enough in ¶ Dreams [after 1:00]. The theme has only Herrmann how to score the film, the composer erupted one more opportunity in ª Romance before it is The Music into a torrent of invective uttered in his particular terminated on an augmented chord in accompaniment Both The Snows of Kilimanjaro and 5 Fingers date It simplified Herrmann’s situation to have such a “high-pitched screech”, then stormed out. Zanuck to Anna’s betraying downward glance as she embraces from the years of transition Herrmann faced when the solid foothold at 20th Century-Fox, where Alfred looked with a grin at Mankiewicz and said, Cicero. CBS Symphony was disbanded in October 1950. He Newman ran an industrious and well-oiled music “Temperamental, isn’t he?!” He then calmly picked There are virtuoso opportunities for Herrmann – he made the logical choice, which was to settle in Los department. Further simplification came with the up the phone and called the guards at the gate, asking is very good about finding ways to express himself. A Angeles and rely on film scoring while he worked to steady stream of exotic assignments – the political them to send Herrmann back to the screening room. fabulously subtle expression of apprehension is created revive his concert career. The film assignments he took upset of an extra-terrestrial visitor, a Turkish espionage In 5 Fingers Herrmann had both the exoticism of in ⁄ Alone, which captures Cicero’s speedy photo- were separated by returns to New York, where he intrigue, an African safari memoir, and many more to Turkey and the perilously unstable emotionalism of graphing of documents during a quiet moment in the wound up his affairs in New York City and began the come – each requiring evocative, unique treatment. At film noir. The semi-documentary style in which the office. It is carefully orchestrated, putting a mass of legwork on the première staging of his opera Fox it was possible for Herrmann to keep his musical narrative is presented – a hallmark dating back to Fox’s solo strings in quiet dialogue with flutes, clarinets and Wuthering Heights, which he completed during this impulses fresh with challenges of this sort, supported The House on 92nd Street (1945) – and the excellent trumpets in a slowly shifting wash of timbre. Much period. It was a period of high stress and high hopes, by a magnificent orchestra of which he could make performances of James Mason and Danielle Darrieux more conspicuous is › The Pursuit, a scherzo that and he eagerly anticipated a state of renewed stability any demand. Though he complained aplenty about his create an interesting dynamic to which Herrmann sweeps Cicero through the streets of Ankara in flight that would make possible a return trip to England, situation in the early 1950s, he bided his time in a readily responded. from the British Military Police. Midway through where he had encountered a welcoming success as a largely ideal circumstance. Several of the score’s recurring figures are pre- [1:05—1:30] music from the opening of Cicero is conductor much stronger than in his own country. This is why his catalogue at this period boasts an sented in The Embassy. Two important ones emerge recalled, creating a symmetrical frame for Cicero’s 8.570186 4 5 8.570186 570186bk Snows:570183bk Son of Kong 15/1/08 5:49 PM Page 4

8.570186 FILM MUSIC CLASSICS 66:27 8.570186

DDD HERRMANN: The Snows of Kilimanjaro (1911-1975)

www.naxos.com Disc Made in Canada • Printed & Assembled in USA ൿ BERNARD HERRMANN 2001 & The Snows of Kilimanjaro 1952

Ꭿ 5 Fingers 1952 WORLD PREMIÈRE RECORDING 2008 Naxos Rights International Ltd. 2008 Naxos Rights International Score Restorations by John Morgan Moscow Symphony Orchestra conducted by William Stromberg The Snows of # The Farewell 2:50 § The Safe 2:45 Kilimanjaro 36:59 $ The River 2:29 ¶ Dreams 2:42 % • 1 Overture 1:31 The Hyena 1:18 Five Weeks 0:26 ^ ª 2 Nocturne 2:44 Helen 3:19 Romance 0:59 & º 3 Memory Waltz 4:03 Witch Doctor 1:57 Departure 2:21 * ⁄ 4 Adagietto 3:21 The Death-watch 2:45 Alone 1:40 ( ¤ 5 The Silence 0:43 Panic 1:08 The Charwoman 1:31 ) ‹ 6 The Fall 1:02 Finale 0:42 Escape 1:21 › 7 Sorrow 1:08 5 Fingers 29:24 The Pursuit 2:28 ﬁ 8 The Awakening 2:08 ¡ Prelude 1:18 The Boat 0:34 ﬂ 9 Barcarolle 0:57 ™ Cicero 2:02 Rio 0:30

HERRMANN: The Snows of Kilimanjaro The Snows HERRMANN: ‡ 0 Interlude I 0:47 £ The Embassy 2:11 Finale 0:54 C ! ¢ Interlude II 1:22 The Film 4:08 M @ The Letter 0:49 ∞ The Old Street 1:38 8.570186 Recorded at Mosfilm Studio, Moscow, Russia, in September 2000 • Producer: Betta International Y Recording Engineers & Editors: Edvard Shakhnazarian, Vitaly Ivanov • Music Notes: Christopher Husted Production Notes: Joe Caporiccio • Design: Ron Hoares • Cover image: Mt Kilimanjaro, Tanzania (Digital Stock) K Previously released on Marco Polo 8.225168