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CHAN 10438 Booklet.Indd CHAN 10438 CCHANHAN 1104380438 BBookletooklet CCover.inddover.indd 1 22/9/07/9/07 220:42:380:42:38 The Film Music of Erich Wolfgang Korngold (1897 –1957), Volume 2 The Sea Hawk Suite from the fi lm score © Lebrecht Music & Arts© Lebrecht Photo Library Edited by Rumon Gamba 1 - 8 Part I 22:04 Main Title – Spain – Slaves – Big Drum – The Albatross – Battle – Duel – Slaves’ Release 9 - 13 Part II 15:11 Night Banquet – Love Scene on the Boat – Throne Room – Exit – Elizabeth and Thorpe 14 Part III 4:12 Rose Garden 15 - 20 Part IV 10:52 Jungle Orchid/ Thorpe’s Men Hiding – Gold Caravan – Attack – Fight – In the Jungle – Ocean/ The Hanging Man Erich Wolfgang Korngold 3 CCHANHAN 1104380438 BBooklet.inddooklet.indd 22-3-3 22/9/07/9/07 220:40:500:40:50 21 - 27 Part V 15:11 The Galley – Spanish Boat – Rebellion/Along the Coast of Cadiz – The Slaves Liberate Themselves/ The Murder – The Fight with the Guard – Knife Fight – Happy Sailing* 28 - 30 Part VI 9:02 Thorpe Enters into Castle – Duel/ Thorpe Fights/Elizabeth Intervenes – Finale/End Title TT 76:57 Manchester Chamber Choir (male voices)* BBC Philharmonic Yuri Torchinsky leader Rumon Gamba Errol Flynn and Brenda Marshall in costume, as Capt Geoffrey Thorpe and as Capt Geoffrey Marshall in costume, Flynn and Brenda Errol ‘The Sea Hawk’, 1940 Dona Maria ~ from Brendan G Carroll: Private Collection 4 CCHANHAN 1104380438 BBooklet.inddooklet.indd 44-5-5 22/9/07/9/07 220:40:550:40:55 escape from the galley and take control of is almost overfl owing with ideas. As well as The Film Music of Erich Wolfgang Korngold, Vol. 2 the Spanish ship on which they have been no fewer than twelve main themes, there enslaved, they burst into song as they set are innumerable subsidiary motifs and the sail – a vocal treatment of the heroic main manner in which Korngold combines themes, Released in 1940, The Sea Hawk was waiting for the edited reels so that he title theme, to lyrics by Howard Koch and embroiders his material with variations, adds Korngold’s last swashbuckler and is arguably could commence work, using his usual, Jack Scholl. This does not appear in the counter melodies and even cross-references the fi nest fi lm ever made in the genre. unique method. In a special projection room script and was undoubtedly incorporated at thematic ideas as characters weave in and Certainly it is one of Errol Flynn’s greatest equipped with a piano, he would have the Korngold’s suggestion. out of camera shot is truly extraordinary – the fi lms and represents all that was best about reels of fi lm run for him repeatedly while he The main scoring sessions were completed more so, given that much of this detail would Hollywood’s golden age – fi ne casting, improvised his music on the piano to the on 18 June 1940 and the fi lm was previewed never be heard on the soundtrack, once an intelligent and literate script, lavish running footage, and later he would complete to the press and industry a month later mixed with dialogue and sound effects. production values and, above all, one of the a full, annotated piano score. Then, with an before its release in August 1940, to general A good example of this is the music greatest scores ever written for a fi lm, that orchestrator at his side, Korngold would play critical acclaim. It was a box offi ce smash accompanying the extended Sea Battle near profoundly infl uenced the medium and does his score while shouting out instructions and Korngold’s score was nominated for an the beginning of the fi lm. Cannon fi re, swords so even today. for instrumentation and particular solo Academy Award. To his great disappointment clashing, men shouting and all manner of It was one of the most diffi cult instruments, with the orchestrator scribbling however, Korngold lost to Walt Disney’s other sound effects make Korngold’s music assignments of Korngold’s career, requiring a notes as best he could. A quick discussion Pinnochio and its composer Leigh Harline. often barely audible. The fact that it makes score of extraordinary length and complexity. to fi nalise matters would then take place, such an impact is a tribute to the composer, a The superb music he produced was multi- before Friedhofer or Heindorf or whoever The Score musical tour de force at a pace that requires layered and thematically complex, literally would take the score home and create the full The extended 75-minute suite on this a turn of the page almost every twenty sweeping the fi lm along and matching its orchestration. This was subsequently turned recording presents most of the major themes seconds. stunning visuals. Because of the punishing over to copyists who often worked through and sequences from the score. The actual fi lm Korngold adopts his usual procedure of deadline (he had only seven weeks in which the night to produce the individual parts for runs 127 minutes of which no less than 106 composing the music in such a way that it can to compose it!) Korngold used the services the recording sessions the next day. Even are scored! often be performed as a continuous whole. of no fewer than four orchestrators: Hugo then, Korngold would make many last-minute As Korngold regarded a fi lm script as an For example, listen to the cue entitled ‘Night Friedhofer, Milan Roder, Simon Bucharoff changes on the soundstage, until the ‘sound’ opera libretto he constructs his material Banquet’. In the fi lm, immediately following and Ray Heindorf, all working to his detailed he wanted was achieved. around well-defi ned themes and motifs for this scene is one in Queen Elizabeth’s Council piano score. Korngold considered his fi lm scores to be individual characters and situations, altering Chamber that is not scored. Korngold’s music The fi lm had, for its time, a lavish budget ‘operas without singing’, but occasionally and developing them as the story progresses picks up again as this scene dissolves into of $1,700,000, and was completed by he allowed his operatic intentions to get and changing the orchestration to suit the ‘Love Scene on the Boat’, with the correct 20 April 1940. Scoring began just two the better of him. For example, towards the mood and character just as Wagner did in key relationships observed, so that when days later. Korngold had been impatiently end of the fi lm, when Flynn and his men his operas. In Sea Hawk, Korngold’s score performed in sequence (as here) no editing is 6 7 CCHANHAN 1104380438 BBooklet.inddooklet.indd 66-7-7 22/9/07/9/07 220:40:570:40:57 required, as the two sequences fl ow perfectly niece – Brenda Marshall) play shuttlecock on the boisterous ‘Albatross’ theme sweep us Room of Elizabeth I (Dame Flora Robson) together. deck with her maid, Martha (Una O’Connor). along before Thorpe breaks into Don Alvarez’ with thrilling fanfares and one of Korngold’s The heroic Main Title uses a superb This is the fi rst time we hear Dona Maria’s quarters, at which Korngold transforms most exciting processional marches as the opening fanfare theme for brass that also theme, here jaunty and slightly syncopated the heroic main title fanfare into a broadly Queen and her courtiers assemble. serves as a fl owing, legato melody for the to match the game’s play. In the fi lm, this fl owing, intensely romantic theme as Thorpe Don Alvarez presents his niece Dona Maria eponymous Sea Hawk – Geoffrey Thorpe cue is much shorter and the scene must sees Dona Maria for the fi rst time. Then it’s to the Queen (with a radiant statement of her (Errol Flynn). This is typical of Korngold, have originally been longer. It is performed all hands on deck to clear the ship before lovely theme) before Exit presents a more who immediately saw the possibilities of so complete for this recording. she sinks. When fi nally the ship does sink, lyrical, almost noble version of Elizabeth’s developing this idea. The jaunty four-note As the wind picks up, Korngold allows us it is heard graphically in the music (much theme as she leaves the court. The scene motif, from which this theme derives its to hear it in the strings before the camera descending glissandi in the harps), before the shifts to her private chamber and Elizabeth impetus, crops up all over the place and even sweeps below deck to the Slaves chained to clarion call of Thorpe’s fanfare theme rings and Thorpe where, after a light scolding lends itself to choral treatment, as noted the galley. The Big Drum keeps time in this out to signal victory! ‘tongue in cheek’ about hijacking the earlier. death march, but soon gives way to a hint of A plaintive cor anglais announces the Ambassador’s ship, and frequent interjections Following the fanfare (the Sea Hawk the Sea motif – as the ship enters the English Night Banquet – a charming quasi gavotte by the monkey, Elizabeth fl irts with Thorpe theme) the main title music soon sweeps Channel. An English ship is sighted (with in ‘Old England’ style, with bucolic alto and the music takes on a delightful, playful into the marvellous love theme, which also Thorpe’s trumpet tune announcing whose it saxophone and bassoon accompaniment in character. In the Palace Rose Garden Dona represents the rolling waves of the ocean – is!) and preparations for battle commence – 6/8 time, as Thorpe entertains his captives Maria and her maid, Martha, are collecting a haunting melody that changes key at each a huge surge of activity, with some marvellous to dinner.
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