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Great Film Music on Marco Polo with William Stromberg & John Morgan

Erich Wolfgang Korngold John Morgan Widely regarded in film-music circles as a master thanks to its spectacular nuclear explosions and The Adventures of colorist with a keen insight into orchestration and powerhouse music.” In addition, Morgan has won the power of music, Los Angeles-based composer acclaim for efforts to rescue, restore and re-record Robin Hood Film Score,1938 John Morgan began his career working alongside lost film scores from the past. Recently, Morgan, such composers as Alex North and Fred Steiner along with Stromberg, composed the score for the Score restorations by John Morgan before embarking on his own. Among other acclaimed documentary, Cinerama Adventure. projects, he co-composed the richly dramatic score Stromberg and Morgan are currently composing Moscow Symphony Orchestra conducted by William Stromberg for the cult-documentary film Trinity and Beyond, music for Sony’s Starship Troopers 2 feature film. described by one critic as “an atomic-age Fantasia, 1 Main Title—Muted Fanfare 1:49 Appearance at the Archery Field— 2 Sir Guy and Robin Hood 1:49 Preparation for the Archery Contest— William Stromberg 3 The Meeting 1:11 Robin Hood Starts to Shoot—Finale of the Archery Contest 6:38 A native of Oceanside, California, who hails from a scores from Hollywood’s Golden Age, including 4 The Banquet 2:14 family of filmmakers, William T. Stromberg several works recorded for RCA with the 5 Robin Hood Outside—Robin Hood’s $ Arrest of Robin Hood 0:47 balances his career as a composer of strikingly vivid Brandenburg Philharmonic. For Marco Polo, he has Entrance—The Fight—The Chase % Tribunal—The Jail 2:27 film scores with that of a busy conductor in Marco conducted albums of music devoted to Max Steiner, Polo’s Classic Film Score Series. Besides Erich Wolfgang Korngold, Alfred Newman, Philip of Robin Hood—The Victims 6:13 ^ The Gallows—The Flight of Robin conducting his own scores – including his recent Sainton, Adolph Deutsch, Hans J. Salter, Victor 6 Robin Hood Meets Little John— Hood 4:40 Robin Hood Fights with Little John— music for the thriller Other Voices, the monster Young and Malcolm Arnold. He has also conducted Jolly Friendship 3:57 & Love Scene 6:25 film, Bugs, and the documentary Trinity and several much-praised albums devoted to concert Beyond – Stromberg serves as a conductor for other works by American composers, including two 7 * Arrest of Lady Marian 0:45 The Oath and The Black Arrow 1:58 film composers. He is especially noted for his albums of music by Ferde Grofé. 8 The Fish—Robin Hood’s Fight with ( Much: The Knife Fight 1:10 passion in reconstructing and conducting film Friar Tuck 3:29 ) Richard Meets Robin Hood—Richard 9 A New Companion (Friar Tuck) 0:56 the Lion-Heart 4:03 Special thanks to … 0 Robin Hood Attacks Sir Guy’s Party— ¡ The Procession 3:09 The Attack 5:12 Danny Gould, Keith Zajic Warner Bros. Music • Randi Hokett, Noelle Carter ™ Prince John 1:33 Warner Bros. Archive, USC • Ned Comstock Cinema-Television Library, USC • ! Flirt—Feast—Poor People’s Feast— Gold 5:59 £ The Battle—The Duel—The Victory 5:36 Stacey Behlmer Academy of Motion Picture Arts and Sciences Library • James V. D’Arc @ The Poor People 4:19 ¢ Epilogue 1:33 Brigham Young University • Ray Faiola • Anna Bonn • Rudy Behlmer • # The Tournament—Robin Hood’s ∞ End Cast 0:35 Peter Boyer • Scott MacQueen • Leith Adams Warner Bros. • Eric Stonerook Eric Stonerook Music • Valle Music

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concurrently. However, Friedhofer did orchestrate an amazing ability of making his cues sound as Welcome to Sherwood! the Duel, which was anything but slow, and wrote a natural as through-composed music. Even when he note to Korngold on the last page of score: “FINE. musically caught screen action, one feels a certain Few motion pictures have ever matched the 1938 In addition to all the other ingredients, Warner LAUS DEO!” [End. Praise to God!]. “rightness” and structure housed in the very nature Warner Bros. production of The Adventures of Robin Bros. used the then-new three-strip Technicolor This has been one of our most satisfying projects of his music. It is our hope that this recording will Hood for sheer entertainment. Even today this film process. It was a wise decision, as the legendary in the entire Marco Polo Classic Film Music Series, not only please the many fans of The Adventures of ranks high on any list of all-time favourites. subject with its many lush forest scenes, costumes, which is entering its tenth year and nearing thirty Robin Hood and its music, but will also be a Warner Bros. first considered filming The and pageantry was ideal for full colour. CDs. Listening to the music in sequence and in satisfying musical experience on its own. Adventures of Robin Hood in 1935 with contract The studio shot most of the Sherwood Forest complete renditions gives added context and star James Cagney slated for the title role. But in sequences in Bidwell Park, 475 miles northwest of perspective to even the familiar cues. Korngold had John Morgan November of that year Cagney, in a contractual Los Angeles in the town of Chico. A natural park dispute, walked off the lot and did not return for two filled with giant oaks, sycamores, and a wide creek, years. One month later the studio presented it was a lovely and fresh setting for the film. newcomer Errol Flynn in Captain Blood. After that Some of the favourite incidents of the Robin Moscow Symphony Orchestra film’s extraordinary impact, The Adventures of Hood legend were used on the screen for the first Robin Hood was tailored for Flynn and given a time: the bout with quarterstaves between Robin Home base for Marco Polo’s critically acclaimed recordings, particularly its continuing work with budget of $1,600,000 – the largest sum allotted to a and Little John (Alan Hale) on a log spanning a Classic Film Score Series, the Moscow Symphony conductor William T. Stromberg in Marco Polo’s Warner film up to that time. (The cost eventually stream, Robin’s first meeting with Friar Tuck Orchestra has won plaudits for its versatility, Classic Film Score Series. David Hurwitz of reached $2,000,000.) (Eugene Pallette) and his forcing the rotund cleric to tackling everything from orchestrations of beloved Classics Today recently found much to treasure in Although almost non-stop action was the carry him piggyback across the stream, and the rock classics to soundtracks for movies to such the orchestra’s re-recording of Max Steiner’s The keynote of The Adventures of Robin Hood, there King (Ian Hunter) coming to Sherwood disguised as intriguing projects as the first-ever cycle of Treasure of the Sierra Madre, adding that was also above average dialogue, spirited a monk. Finally, all the various archery contests symphonies by Malipiero. In addition, it has given “Stromberg and his Moscow forces play these performances, and impressive spectacle. An described in the many legendary versions were numerous performances of classic works by colorful cues with their usual aplomb, and they’re important element was the excellent casting, amalgamated into one major archery tournament, Scriabin, Rachmaninov and Tchaikovsky and vividly recorded, too. If you’re into movie music, including the premier swashbuckler Errol Flynn, wherein Robin splits his opponent’s arrow (actually remains the busiest orchestra in Russian recording this latest issue recommends itself.” Franz who at 29 was at his peak and perfect for the role, accomplished by archery champion Howard Hill) studios today, performing everything from Irish folk Waxman’s titanic score for the film Mr. Skeffington with just enough seasoning. He was “hero” and wins the Golden Arrow prize. tunes to a dynamic new re-recording of Max also won plaudits from Hurwitz, who described the personified. Olivia de Havilland was by now his The archery tournament was photographed at Steiner’s score for King Kong. The first orchestra in music as “a brilliant, magnificent piece of work, ideal screen romantic interest, having been paired the old Busch Gardens in Pasadena – long since Russia to be funded through private resources rather ideally presented by Stromberg and his Moscow effectively with Flynn in Captain Blood (1935) and gone. It was during this period, after the company than state support, the Moscow Symphony Orchestra players.” And in reviewing the much-awaited The Charge of the Light Brigade (1936). Their had returned from Chico, that director William was established in 1989, quickly gained a reputation première recording of Bernard Herrmann’s hypnotic romantic scenes in Robin Hood were played with Keighley was replaced by Michael Curtiz, who shot for excellence as well as adventurous repertoire, and score for Garden of Evil, Mark Koldys of American believable ardor, grace, and more than a touch of most of the interiors, back-lot, Warner Ranch was further refined when famed Antonio de Almeida Record Guide praised it as “a valuable document and humour. The only other person Warners considered footage, and embellished a good deal of the material became conductor and music director in 1993. a richly rewarding musical experience … easily a for the role of Maid Marian was contract player made earlier by Keighley. Praise has been plentiful for the orchestra’s many contender for the film-music release of the year.” Anita Louise. Robin and Sir Guy of Gisbourne (Basil

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Rathbone), chief conspirer under Prince John historical romance genre. The subject had been state of the art for its time, trying to hear the interior woodwinds consisted of three flutes (one doubling (Claude Rains), become rivals for Lady Marian extraordinarily popular for over 600 years and detail and instrumental colour was difficult as this piccolo), two oboes (one doubling cor anglais), three (Olivia de Havilland), a Norman ward of King Warner Bros. had the good sense not to alter the music was written as precisely as a Richard Strauss clarinets (third also playing bass clarinet), and two Richard the Lion Heart. This triangle, not present in material drastically or to make it seem considerably tone poem. One example that particularly delights bassoons (with the second bassoon doubling on any of the old ballads, originated in the popular De more than it was. All the elements are handled in a me is the opening of the Love Scene where we put contra bassoon), and occasionally two saxophones. Koven-Smith light opera version of Robin Hood in relatively straightforward manner. The dialogue is back in the magical flutes flutter-tonguing that has The brass included four French horns, four trumpets, 1891 and was used again in the Douglas Fairbanks not too flowery or archaic in an attempt to be been missing for all subsequent recordings of this four trombones and tuba. Additionally, two harps, 1922 silent Robin Hood. faithful to the period; vigor and pace always offset music. one piano and one celeste were utilized along with Since there was a little something suggested the pomp and ceremony, and nothing tedious mars Even cues that were never previously recorded five percussionists playing normal battery. Two from all sources, Flynn (or occasionally a stunt the proceedings. Rather than lasting two hours or but survived in full score were problematic. Missing acoustic guitars peppered several cues and.the double) was required to engage in some lithe longer, as so many costume adventure films do, pages of score had to be reconstructed for our normal (for film recording) complement of strings leaping, wall-scaling, vaulting, vine-swinging – Robin Hood runs its course in a brisk one hour and performance. Many of the original parts were so made up the Robin Hood orchestra. The Procession and, of course, swordplay – to take into account the forty-two minutes. During that time, the film is marked-up by revisions Korngold made from the was the largest orchestral complement, requiring Douglas Fairbanks heritage. crammed with incident and action – all of it pointed podium on the scoring stage that they were seven trumpets, six trombones and eight percussion Audiences then and now loved the movie, many and imaginatively staged. There is a prevailing unreadable and had to be recopied. Where we felt it players, including two vibraphones. For this people going back to see it time and again. In 1948, humour, not forced or awkward, but light-hearted, was musically appropriate, bars of music were recording we have enlarged the string section ten years after its first release, Warner reissued the impudent, and indigenous. restored here and there that were taken out of the considerably in order better to balance the sound. film in theatres everywhere with new Technicolor Many other film productions of the Robin Hood original when the composer felt the music needed Korngold preferred conducting from the full prints, treating it in the manner of one of their big, legend followed. But MGM’s adaptation of the De altering to match comfortably the screen action on scores rather than the conductor scores, which was fresh attractions. The public flocked once again; the Koven-Smith 1891 operetta to star Jeanette the scoring stage. An example of this is in Robin customary. The composer went through the scores picture performing better than most new films at the MacDonald and Nelson Eddy, that had been Hood Fights with Little John where we restored a and made his own short-hand notations for changing box office and certainly better than the usual revival scheduled to follow in late 1939-early 1940, was delightful four-bar syncopated phrase that has never tempos, time signatures, and rhythmic complexities. of an old movie. It was reissued another time – but abandoned after the extraordinary success of the been heard before. Conductor Bill The extraordinarily fast-paced music in black and white only and on a more limited basis Warner version. Stromberg reconstructed the missing would often necessitate turning a – just before being sold to television in the late The definitive Robin Hood for most people is sections of the Sir Guy forest battle page every two seconds. Hugo 1950s, where it has been a perennial favourite. In a the 1938 version, wherein many elements of while I orchestrated the Main Title Friedhofer and Milan Roder shared poll taken in 1977 for TV Guide magazine, popular entertainment are beautifully fused: fairy- from a surviving violin part. Finally, orchestration duties for most of the programme directors of television stations tale romance, spectacle, colour, action, pageantry, after weeks of work, we felt the score. On several of the longer cues, throughout the country were asked to name the ten humour, the triumph of right over might, the music was in good enough shape to Friedhofer would start and when the most popular, most often shown movies in their exultation of the Free Spirit, the lure of the head to Moscow for the recording music moved to a very “notey” fast markets. Robin Hood was number five, preceded by greenwood, and a vague nostalgia for a partly you now hold in your hands. section, Roder would then complete – in order of popularity – Casablanca, King Kong, mythical age of chivalry. The original Warner Bros. the cue. No doubt Friedhofer was The Magnificent Seven, and The Maltese Falcon. Relatively little about the picture dates, except orchestra for The Adventures of also very busy servicing Max Steiner The Adventures of Robin Hood avoids the in a charming way. The characters, costumes, Robin Hood was a large one, at Warners and would be pitfalls that plague so many other films in the castle, and forest are idealized, but then the film is especially by 1938 standards. The William Stromberg orchestrating more than one score

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Restoring Robin Hood’s Music not a document of medieval life; rather, it is a fairy “Epilogue,” Newman being exhausted from tale illustrated by Technicolor. The “love interest,” conducting the remainder of the forty-minute album Growing up in the fifties was a great time for a time considerations, with bars of music taken out, often perfunctory and arbitrary in costume in a day and a half (including rehearsals)! budding film buff. Most of the classic films of the and somewhat reorchestrated for a standard adventure films, is here properly motivated and On New Year’s Eve, 1961, George Korngold thirties and forties played constantly on local orchestra by eliminating extra woodwind and brass nicely woven into the plot fabric. And the rich Erich presented me with an advance copy of the Warner television. Not realizing it at the time, both my film parts, reducing the percussion from five to three Wolfgang Korngold Academy Award-winning Bros. LP. I remember going home after the New and music tastes were being shaped by these players, combining the piano and celeste parts into score serves as marvellous connective tissue, Year’s party and staying up until dawn playing the wonderful films and their scores. Warner Bros. was one, and integrating two harp parts to one. sweeping the film along and providing a splendid record over and over again while I listened and shed my favorite studio for a number of reasons; not the Apparently Korngold “borrowed” the scores and added dimension. some tears. Unless you were around in the 1930s least, the music. I remember the first time I saw The parts for these key sequences shortly after the film When this writer was a boy, one of the first and ’40s, and a film music buff, I’m sure it is Adventures of Robin Hood and what an impact it was released for use in live performances. He made original dramatic film scores I remember humming difficult to imagine what it was like not to be able, made on me. The music became a part of my reel-to- cuts in the music and combined cues to present the after leaving the theatre was Korngold’s music for for the most part, to hear favorite scores except in a reel library of scores I taped directly from the music in a concise fifteen-minute length. All the The Prince and the Pauper in 1937. Then came the movie theatre. television set with my little Webcor tape recorder. orchestrations were revised to accommodate this composer’s score for The Adventures of Robin In 1972 Charles Gerhardt conducted four Never in my dreams did that twelve-year-old kid “standard” orchestra and new score and parts were Hood and I was humming that a lot. The trouble minutes of a Robin Hood excerpt with the National realize he would be preparing this music for a prepared. The original film orchestrations for these was, in those days one was limited to humming, Philharmonic Orchestra (in England) for the initial complete recording many years later. sections are now lost. Despite this, I was determined whistling, or singing portions of the music (in my record in RCA’s Classic Film Score series, The Sea Gathering the physical materials for this first- to present this music as heard in the film, with all the case, I’m sure I was frequently off-key with a Hawk: The Classic Film Scores of Erich Wolfgang ever complete re-recording of Erich Wolfgang connecting cues intact as well as the much-recorded slightly variant melodic line) because, of course, Korngold. In 1975, for a follow-up RCA album, Korngold’s The Adventures of Robin Hood was both sections restored to their original orchestration and there were virtually no recordings of film scores, no Captain Blood: Classic Film Scores for Errol exhilarating and frustrating. After getting Warner length. Evidently we are the first to do this, as a videos, not even TV to catch the film once it left the Flynn, Gerhardt and producer George Korngold Bros’ blessing to record this music, I had every page study of every re-recording – beginning with the first run, then the neighborhood theatres, and finally included a total of 12:20 of music from Robin Hood. of surviving scores, instrumental famous Lionel Newman 1961 what we used to call in San Francisco “the flea Excerpts from the original optical music tracks parts, and conductor books version – makes it obvious that the houses.” were edited by George Korngold into a fifteen- photocopied to begin the restoration Suite versions were used for these Incredibly, it was not until August, 1961, that minute suite for a portion of Warner Bros.’ 50 Years process. To my initial recordings. any music from Robin Hood was commercially of Film Music LP album, released in 1973; a good disappointment, I discovered many Fortunately, Korngold’s produced for records. Selections (total time, 9:20) deal of material being presented for the first time on of the key sequences were missing — original recording of the entire score were recorded by conductor Lionel Newman and commercially available records. Other recordings both in full score and individual survived on audio tape, made from producer George Korngold in Munich, Germany, of selections – or of the official Robin Hood parts. I then located the official Robin the optical nitrate stems. This was based on the original orchestrations, for an excellent published suite (approximately fifteen minutes) put Hood Suite, which contained some of invaluable as it afforded us the music Warner Bros. compilation album, Music by Erich together by Erich Korngold for concert the missing music. without dialog and sound effects and Wolfgang Korngold. Actually Kurt Graunke performances – followed over the years. My excitement was then a bit made the restoration more reliable conducted the unidentified sixty-piece Munich The 1983 Varese Sarabande recording with muted when I discovered that the and authentic. Although the original orchestra for two of the three Robin Hood Varujan Kojian conducting the Utah Symphony music in the Suite was edited both for John Morgan recording of this score in 1938 was selections, “Robin and Maid Marian” and Orchestra gave us the most generous amount of the

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Robin Hood score up to that time. But because that newly restored Adventures of Robin Hood that is Left: recording was designed originally for LP (later put being released in a special edition two-disc Warner On the Sound Stage. on CD), 43 minutes are all that could be properly Bros. DVD package on this occasion of the A break during an accommodated on one disc, so it was thirty minutes picture’s 65th anniversary. actual scoring short of the entire score. But now in this new Marco session. Erich Polo performance of the original score and Rudy Behlmer Wolfgang Korngold orchestrations we are able to hear all 73 minutes author of Behind the Scenes: The Making Of . . . , on the podium, his composed for the film in glorious sound! Inside Warner Bros. (1935-1951), co-author of parents seated to Indeed, here is an ideal complement to the The Films of Errol Flynn, etc. the right. (Photo Brendan Carroll)

Erich Wolfgang Korngold receiving his Academy Award for Robin Hood from esteemed composer Jerome Kern. (Photo © Copyright Academy of Motion Picture Arts and Sciences)

Right: Erich Wolfgang Korngold and Basil Rathbone at a special Robin Hood radio network broadcast on 11th May 1938. (Photo Rudy Behlmer)

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Photos taken during the actual scoring sessions for Korngold and The Adventures of Robin Hood The Adventures of Robin A Masterpiece of Film Scoring Hood (April 1938). Erich Wolfgang Korngold Of the eighteen films scored by Erich Wolfgang Anthony Adverse – the latter winning him an conducting the Warner Korngold, three are regarded today as outstanding Academy Award in 1936. He was not yet under Brothers Orchestra. masterpieces of the genre: Kings Row, The Sea long-term contract to Warner Brothers but worked (Photos Brendan Carroll) Hawk and The Adventures of Robin Hood. The as a freelance, on a picture-by-picture basis. musical form established by Korngold in the mid Following his introduction to motion pictures by Left: 1930s – the symphonic film score – saw its greatest legendary producer Max Reinhardt, who had During the Banquet examples in these films, and Robin Hood in insisted on him being assigned for A Midsummer Scene (Basil Rathbone particular, the earliest of the three, remains one of Night’s Dream in 1934, Korngold was also clearly on screen). the most inspired of all this composer’s works, tenuously attached to Reinhardt’s future screen either for the screen or the concert hall. assignments. Reinhardt had a three-picture deal The film itself remains as fresh and popular with Warners, and Korngold returned to Hollywood today as in the year it was made, and in spite of in October 1936 ostensibly to work on Danton, a numerous later films and television series on the large-scale historical epic being planned as subject, it is still widely regarded as the definitive Reinhardt’s follow up to Dream. In any event, the version of the legendary story. With the coming of film was postponed (it was never made) and cable, satellite TV, video and DVD, countless Korngold scored Another Dawn and The Prince and millions throughout the world now know this the Pauper instead. classic motion picture. Indeed there can scarcely be At the beginning of May 1937, after completing a time of day when this film is not being shown the score for The Prince and the Pauper, Erich Right: somewhere on the planet. For Korngold, who once Wolfgang Korngold left Hollywood to return to Robin and remarked that a ‘film composer’s immortality lasts Vienna to spend the summer finishing the Little John on all the way from the soundstage to the dubbing orchestration of his fifth opera Die Kathrin, which the Log (Alan room’ this would be a revelation. He could not have was scheduled for its world première at the State Hale and envisaged that the music he composed under such Opera that autumn. From surviving correspondence, Errol Flynn duress in 1938 would become one of his most it seems that he already knew that his next film just visible frequently performed and beloved works. assignment would be the lavish, Technicolor on screen). By the time he came to write Robin Hood he spectacular The Adventures of Robin Hood – by was already esteemed as one of the leading then already in the advanced pre-production stage. composers in Hollywood, following his Letters from the period between Korngold, his groundbreaking work on such films as A father (esteemed music critic Dr Julius Korngold) Midsummer Night’s Dream, Captain Blood and and his publisher Schott, confirm that he spent

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considerable time researching the Robin Hood suffered a tubercular infection) but the impending and Krise took photos of the occasion, which are concert music …” legend in the main libraries in Vienna, in order to première of Die Kathrin clearly ruled this out. now also preserved in my collection. In the closing Prophetic words. In June, Korngold was invited understand the narrative and the characters, no Korngold had written the lead tenor role in the opera announcements, special thanks from Korngold to to conduct concerts of his own music in Oakland and script being yet available. for Jan Kiepura and was disappointed when the Friedhofer and Milan Roder were read at his San Francisco featuring the Bay Region Symphony Preparation was essential because Korngold handsome singer eventually declined the part, insistence by Ken Niles, the radio announcer. Orchestra and he decided to include a short suite knew that once he returned to America, time would owing to his having signed a contract with the Korngold was a generous artist. from Robin Hood, which he assembled especially. be of the essence in scoring the film and the more he Metropolitan Opera in New York. Miraculously, this historic radio performance is The Suite is still performed in concerts today could achieve before scoring began in earnest, the Korngold’s intensely romantic opera needed a preserved on records for, originally, it was Warners’ and comprises four movements: The Banquet: better. Normally, he would have to wait until he saw star tenor to partner soprano Jarmila Novotna intention to issue it commercially. However, only March of the Merry Men: Love Scene: Fight, Victory a finished script before any composing could begin. (singing the role of the eponymous heroine) and eight shellac sets were ever made (for Korngold and and Epilogue. It was always Korngold’s intention With Robin Hood, the characters and story after various options were pursued, Richard Tauber the chief executives at the studio) of which only that the music he composed for the cinema would, as incidentals were already well-established folklore was finally chosen. Tauber was a close friend of three are known to have survived. The release was he put it, “still be music, away from the screen”. and he seized the advantage. Korngold, and had scored a triumph in the role of subsequently abandoned as being too ‘uncommer- On 23rd February, 1939, to the surprise of We can assume therefore that some of the Paul in Korngold’s most famous opera Die tote cial’, and it was not until 1942 and Miklos Rozsa’s absolutely no one, Korngold won his second Oscar memorable themes contained in this most beloved Stadt in the 1920s. He had recently married an The Jungle Book that a film score was to be for Robin Hood at the glittering Academy Awards score were conceived months before filming began. English actress, Diana Napier, and was living much substantially issued on gramophone records. ceremony at the Biltmore Hotel when Jerome Kern In addition, Korngold’s father advised his son that of the time in London. He had agreed in principle to The Adventures of Robin Hood achieved presented him with the award. The film also won for one of his earlier concert works could provide ideal star in Korngold’s opera and Bruno Walter had exemplary critical notices on release, and several its superb art direction and editing. Hal Wallis, who material for the score. This was Sursum Corda – a agreed to conduct. Production plans for the opera major articles were devoted to the music. The music with Henry Blanke produced Robin Hood, was given large-scale symphonic overture with a wonderfully moved slowly. Tauber was on his way back from critic Bruno David Ussher writing in the Hollywood the Irving G. Thalberg Award for ‘consistently high heroic trumpet theme. It was composed in 1919, America, following a successful series of concerts Spectator said: quality of production’. much in the manner of a tone poem by Korngold’s at Carnegie Hall. “Korngold’s music is ideal foreground music. Both the film and its marvellous score have mentor Richard Strauss (to whom, incidentally, the Meanwhile, shooting had already begun on An orchestral score for an opera isn’t called endured. Over sixty years later, the music Korngold score was dedicated) yet had never been successful. Robin Hood in September of 1937 but following ‘background music’ even if the orchestral writing composed for The Adventures of Robin Hood still It provides the core thematic material in Robin poor weather hampering the location photography, a were entirely apart, thematically…. from the vocal represents a benchmark of the genre that has rarely Hood and undoubtedly contributed to its unique subsequent change of director, script revisions and line … Fortunately, there was no viva voce in Robin been equaled. Its influence on style has been flavour. the decision to enhance the film into a super- Hood. All the ‘singing’ occurs in the eminently profound and its popularity has remained constant. The events surrounding Korngold’s return to production, it was not to be completed until 22nd songful music of Korngold … One love scene As a work of art, it may well be his masterpiece Hollywood for Robin Hood are the stuff of legend, January, 1938. contains pages of music that could well live on as among the scores he created for the screen. yet there are still unanswered questions. Unusually, Back in Vienna, Christmas 1937 passed quietly. no return date seems to have been agreed with Tauber was scheduled to make a film in England Brendan G Carroll March 2003 Korngold, and no written agreement had been (Land Without Music, with Jimmy Durante), but Brendan G Carroll is President of the International reached. In previous years, he had usually returned had agreed to look at the score of Korngold’s opera. Korngold Society and author of The Last Prodigy, in October to spend the winter months in California The première date was the only question, and this the definitive biography of the composer. (to benefit his younger son George, who had depended on Tauber finishing his film by March.

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Postscript Then, fate stepped in. and say our goodbyes to family and friends. We had On 22nd January, a young Austrian pianist, to leave our older son Ernst with my mother and Korngold finished the lengthy recording sessions were produced as invitations for the star-studded Robert Kohner, was participating in a concert in sister so as not to interrupt his schooling …” and post-production work in early April. In the late audience, which of course included Korngold. The Vienna and had decided to perform Korngold’s A letter from producer Henry Blanke arrived the 1970s and early 1980s, I was fortunate enough to film had already been sneak-previewed in theatres in Piano Sonata No.3. Korngold and his wife Luzi next day announcing that he had already ordered the meet and interview several of the surviving members Pomona and downtown Los Angeles and the were invited guests and decided to attend. Luzi script to be available for their arrival in New York, of the Warner orchestra, most especially Teddy reaction and responses from audiences had been recalled the dramatic day in her memoirs: and outlined the main characters. Blanke compared Krise, chief clarinettist, who had vivid memories of remarkable. “I was alone in the house when a telegram the love story between Robin Hood and Maid the sessions: The Adventures of Robin Hood was to be arrived: ‘Can you be in Hollywood in ten days time Marian to that in Captain Blood. On 23rd January “Robin Hood was one of the toughest jobs I officially released on 14th May. Normally, films to write the music for Robin Hood?’ Korngold sent the following reply to Blanke: think we ever did back then, on account of how were ‘trailed’ on radio but Warner Brothers, “I took the telegram with me to the concert. “Accept in principle hoping that one further difficult the music was. The time was so short recognizing that Korngold’s score was Erich was late; finally I saw him enter the room and picture possible. Take Normandie 29th to because of the release date, that there was hardly any extraordinary, took the unusual step of mounting a take a seat at the back. I raised the telegram in my Hollywood February 7th. Cable if picture already rehearsal and we had to mostly play the stuff ‘at special radio broadcast of virtually all the major hand to show him but he didn’t understand – we had cut and how many weeks available for scoring. sight’. But even so there were very few retakes as I sequences of the score with Korngold conducting the to wait for the end of the concert when, in my Confirm contract” recall. Some of the boys were allowed to take stuff Warner Brothers Studio Orchestra and Basil agitated state, I could share the news. He looked at Hal Wallis, Warners’ production chief, replied home with them, which was unusual. I remember Rathbone narrating the story. This took place at the me, astounded and said ‘This is an omen’. Then he in an overnight wire on the 23rd: Larry Sullivan, our principal trumpet doing that studios of KFWB on 11th May, and was broadcast rang the Director of the Staatsoper right there from “Satisfactory arrive Hollywood February 7th. because he had these really tricky solos. Our live, coast-to-coast across the NBC Blue Network. the Concert Hall and told him of the Warner Terms OK as wired Friday. Should score picture concertmaster Dan Lube had some really juicy stuff Teddy Krise vividly remembered this occasion Brothers contract … Dr Eckmann said word for about four weeks as release date April. Wilk has too. I did all the wind solos, even the saxophone in also: word on the telephone ‘Professor Korngold, take script for you. Picture cut by 7th. Regards, Wallis.” the big love scene, which was an unusual colour. I “We got paid extra for the broadcast which was this as an omen and go! I promise you a first class The die was cast. The dates of the wires indicate remember that Korngold wanted that to be played very popular with the fellahs but, boy, it was a tough première in October with Bruno Walter conducting the speed with which the decision was taken. The ‘straight’, with no vibrato at all….. but, it was all just job. I recall we rehearsed for most of the afternoon. and starring Jarmila Novotna and Richard Tauber Korngolds left by car, for Le Havre, on 25th glorious music – nothing of that quality had been The live broadcast was at 7.30 in the evening. (who will be free then). I’ll make sure we write to January. The journey was a tortuous one. Icy roads done before in Hollywood and the guys really Rathbone only came at the end of rehearsal because you and confirm it’. It was late in the evening. Erich and a blinding snowstorm made driving through the appreciated it.” the studio wouldn’t release him from filming. The looked at me with uncertainty and suggested we go bitterly cold weather extremely hazardous. At every Teddy Krise was also an amateur photographer actual performance was much harder than the to the Imperial Hotel to find out what ships were border, they were stopped and questioned or even and took photographs of Korngold actually working scoring sessions because we only had to perform sailing in the next five days. If it were not one of the sent back for some trivial documentation to be re- on the sound stage. He subsequently gave them to individual cues for the picture, whereas on the radio, big liners, he would not travel in winter. The ship stamped. me and they are among my most treasured we really played whole sequences like a concert and due to sail was the Normandie (then the largest Korngold spent the journey contemplating the possessions. you know, Korngold wouldn’t compromise on passenger ship afloat). On the spot, Erich reserved film. At Le Havre, just before finally boarding the On 25th April, a gala preview of the film took tempos at all.” two cabins, because we would at least have to take ship, a postcard from Julius Korngold arrived place at Warner’s Hollywood Theatre. Special Albert Glasser was in attendance to make any Schurli [son George] with us. We had only a day to containing the telling phrase “Don’t forget my idea vellum scrolls with elaborate lettering in full colour necessary changes to the orchestral parts. Both he pack our things, make arrangements for the house to use Sursum Corda for the chief theme of the

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Captain of the Brigands!” In fact, Korngold had calm him, said “Then don’t!” Finally, he left to see (Melville Cooper) says ‘We are ready for the their themes duel in the orchestra. Korngold reused already decided to take his father’s advice and had Hal Wallis, with a carefully constructed letter of ceremony – your Majesty!’ and the music swells. A some of this music later in a similar duel in The Sea written to his publisher Schott before he left Vienna rejection, which survives in the Warner files: new grandiose treatment of ‘Old England’ is heard, Hawk. asking permission to use portions of the earlier “Dear Mr Wallis, as the Great Hall of Nottingham Castle is finally Sir Guy’s dispatch and fall to his death are score. A telegram from Willy Strecker, the senior “I am sincerely sorry to have to bother you once revealed, bedecked in coloured flags and tapers as superbly captured in the music, before the Battle partner at Schott, was waiting at Le Havre granting more. I do appreciate deeply your kindness and the camera pulls back on the resplendent scene. finally reaches its climax with The Victory, and as Korngold permission. courtesy toward me, and I am aware of the fact that Brilliant fanfares ring out – and the music they Robin rescues Marian from her prison cell, a grand The Normandie sailed for New York on 29th you have made all concessions possible to facilitate play is an extraordinary transformation of the rendition of the Love theme is heard, richly scored January. According to his son George, Korngold my work. March of the Merry Men into a thrilling ‘Pomp and for additional brass, answered by the second half of constantly paced the decks humming to himself “But please believe a desperate man who has to Circumstance’. The music becomes ever more the Lion Heart theme; the clear message from the throughout the difficult voyage, composing in his be true to himself and to you, a man who knows elaborate, with harps, tolling bells and extra composer is that Love has triumphed and the head and making notes, then improvising on the what he can do and what he cannot do. Robin Hood fanfares building to the emphatic climax. For this rightful King restored. piano in his stateroom as the ship was beset with is no picture for me. I have no relation to it and extended sequence, Korngold added extra brass, for As King Richard knights Robin Hood with the mountainous seas – apparently the worst ever therefore, cannot produce any music for it. I am a antiphonal fanfares, which were recorded separately instruction: ‘My first command to you my Lord Earl crossing for this great liner. He thus was able to add musician of the heart, of passions and psychology; I and then mixed over the main orchestral part. This is to take in marriage the hand of the Lady Marian’. to the sketches he had already made in Vienna for am not a musical illustrator for a 90% action was necessary because of the limited monaural The Epilogue ¢ sees Robin’s trumpet theme the principal themes of the main characters. The picture. Being a conscientious person, I cannot take recording process then available. Yet Korngold was undergo its final transformation, into a yearning, ship arrived in New York on 3rd February and the the responsibility for a job which, as I already know, already clearly thinking in stereo long before it was romantic, completely lyrical melody for divided Korngolds left immediately for the West Coast on would leave me artistically completely dissatisfied possible. strings. the Santa Fe Chief. Even then, their adventures and which, therefore, I would have to drop even A fanfare announces Prince John ™. Then, as The music fairly glows, as it sweeps up to a were far from over. The train collided with an after several weeks of work on it, and after several the monks file in, the Norman Fanfare of wistfully nostalgic descending phrase, as Robin – automobile just before arriving in Pasadena on 7th weeks of salary. Supremacy is heard, but now in sinister muted form. making a discreet exit with Marian – delivers the February, where, much shaken but in reasonable “Therefore let me say ‘no’ definitely, and let me The ceremony is interrupted by Richard and Robin final line of the film: ‘May I obey all your spirits they were met by Max Reinhardt’s wife, the say it today when no time has been lost for you as revealing themselves, and once again, Sursum commands with equal pleasure, Sire’ and the great actress Helene Thimig. They arranged to rent a yet, since the work print will not be ready until Corda rings out, adapted and restructured. We now doors of the castle close behind them. Robin’s house near to Warner Brothers in the picturesque tomorrow. move swiftly into The Battle £. The last section of theme thunders out, with the Lion Heart theme Toluca Lake district, which was ten minutes walk “And please do not try to make me change my Sursum Corda fits the action perfectly, but soon, building to a huge crescendo. A brisk reprise of the from the studio. The next day, they were driven to mind; my resolve is unshakeable. I implore you not Robin and Sir Guy break away for The Duel. March of the Merry Men accompanies the End Cast the screening of Robin Hood. Korngold watched to be angry with me and not to deprive me of your Korngold here unites the themes for both characters ∞ bringing this masterpiece of film scoring to its with great attention, and became increasingly friendship. For it is I who suffers mentally and in contrapuntal interplay. As they duel on screen, conclusion. worried as the fast-paced, action-filled adventure financially. I ask you to weigh the pictures for film unfolded. which I composed the music, such as Midsummer He looked continually at Luzi, shaking his head Night’s Dream, Captain Blood, Anthony Adverse, with concern. Later, his desperation exploded. “I Prince and the Pauper, against the one I could not can’t … I can’t do it” he shouted. Luzi, trying to make Robin Hood. And if during the next few

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music begins with a gently undulating misterioso the Court of Execution when she is condemned to weeks you should have a job for me to do, you need contracts department, dated 14th February, was based on Robin’s trumpet call but here in the minor death, before one of the most unusual musical not cable all the way to Vienna. unequivocal about the result of these discussions: key, supported by harp and piano arpeggios. sequences in the score; Much: The Knife Fight (. “With best regards, “Korngold is now definitely set to do the music Inside, Lady Marian talks to her maid Bess (a Much the Miller, warned by Bess, goes to overtake “Erich Wolfgang Korngold” on ROBIN HOOD” wonderful performance by Una O’Connor) of her Sir Guy’s assassin, Dickon (Harry Cording) to save Wallis had little option but to accept, and Korngold, feeling he was under no obligation, love for Robin and we hear again ‘Lady Marian’s King Richard. In the music, after a sinister prelude Korngold, delighted at this painless outcome, worked fluently and at speed. Luzi, writing years Heartsong’ – now, no longer shy or teasing but a of biting, dissonant minor seconds, we hear Much returned home. The events of the days that followed later, was at a loss to explain why they took no steps lyrical outpouring, exquisitely orchestrated, with drop from the tree onto Dickon and as the fight are worthy of a film script in themselves. As Luzi to rescue their other son and family from the celeste and vibraphone providing the most ensues, to match the brutality and sharp blows, recalled: dangerous situation in Vienna. Naive, trusting, they luxurious, erotic colouring. Robin arrives and the Korngold liberally spices the score with sharp “… it was the 12th of February – I got a call clearly presumed that things would calm down. As structure of the sequence, which follows, is purely intervals, and a strange, discordant treatment of from Helene Thimig. I picked up the phone upstairs she wryly remarked: operatic. Once the two have declared their love and Robin’s theme. while Erich, curious as ever, lifted the receiver “And of course we had a high opinion of our as they kiss for the first time, Korngold provides a As the fight reaches its climax, the scene (and down below. ‘Luzi’ said Helene with uncertainty, countrymen and would never have thought that sweeping climax with a full, rich statement of the the music) dissolves into the radiant major key and ‘it’s all over. Schuschnigg (the Austrian Chancellor) what had happened in Germany could ever happen ravishing love theme first heard in the forest earlier. onto Richard himself (Ian Hunter) [Richard Meets is in Berchtesgaden (meeting with Hitler)’. At that in ‘our country’ …” When Robin speaks, a cello intones the Robin Hood] ) and his lovely theme, played very moment, the doorbell rang and Mr Forbstein, Then, it was announced that elections were to Lionheart theme. When Marian responds, it is the rapidly. He encounters Robin and the Merry Men head of music at Warner Brothers, entered the house be held in Austria on 10th March. Luzi was violins which answer for her. The musical sequence and as they walk to the camp, Will Scarlet (having with the words ‘Korngold, you have to do it!’ Erich innocently convinced that Austria would resist the ends with its usual coda – the Old England theme. discovered the injured Much) arrives with him. This tried to explain that he had already officially grip of Hitler. But Korngold finally woke up to the Korngold’s description of his film scores as ‘operas scene was edited and shortened before release but declined, and in writing. ‘That doesn’t matter’, said reality of the crisis. He knew with terrible certainty without singing’ is especially apt here. for this recording, the full musical sequence has Forbstein with a dismissive gesture. Under the what lay ahead. ‘He must invade! Don’t you see? At this point in the film, Korngold’s music been restored. A lovely pastoral statement of the crucifying influence of the news we had just Hitler could never risk an election in Austria …’ stops. Scenes depicting Richard the Lionheart Lion Heart theme [Richard the Lion Heart] as he received on the telephone, Erich began to reflect on Indeed, there was no election and on 13th arriving incognito at an Inn and a subsequent reveals his identity to Robin and his men, closes the the matter. Finally he promised Forbstein that he March, Hitler marched into Austria. The Korngolds meeting between Prince John, Sir Guy and the scene. would at least try to write the music for Robin immediately cabled Luzi’s sister asking that their Bishop of the Black Canons (Montagu Love) where The Procession ¡ marks the beginning of the Hood. He didn’t want a contract. His conditions eldest son Ernst be included on her passport. They they plot Richard’s murder and the coronation of grand finale to this wonderful film. The March of were ‘work from week to week, paid from week to received no reply. Transatlantic telephone calls had John as King, are played without underscoring. the Merry Men is now sinister and stately, week’. ‘If I find that it’s not working out, I can give to be booked in advance in those days, and several Korngold instinctively knew where to place music embellished with tolling bells and muted trumpet up with a clear conscience; the music I have written anxious hours passed until they could speak to in his films and these scenes required none. flourishes, as the outlaws disguised as monks make up until then will belong to you’ he explained … Vienna direct. Julius Korngold who had already However, as Lady Marian has overheard the plot, their way to Nottingham Castle, where Prince John, The following evening, he was already at work in included the boy on his passport, had in fact Korngold’s score resumes with her Arrest * – a assuming his brother has been killed, is about to the rehearsal room …” cunningly procured a holiday visa to America some reprise of the oppression theme, for Marian is proclaim himself King. The scene changes to the Whatever Korngold privately felt about his months earlier (having realized the danger long herself now one of the oppressed. robing room where he is dressing. As he admires obligations, an inter-office memo from Walter before the rest of his family) and indeed, was about A long, held chord maintains the suspense of himself in a pier glass, the Sheriff of Nottingham MacEwen, Hal Wallis’ executive assistant, to the to leave within a few hours. The whole family

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actually left Vienna on the last unrestricted train and assistant, Reginald Basset) and then record the appearance of the Love Music, as Marian starts to Banquet, is continued by a new, threatening version managed to cross the border into Switzerland on the finished score to the film. His son George later realise her true feelings for Robin. This new theme, of the oppression theme effectively building the very last day that this was possible. Once he was recalled the agony of those weeks: which appears almost bashfully here, is also from tension. Robin Hood Starts to Shoot accompanies assured that his family was safe, Korngold threw “… My father was on the verge of stopping Sursum Corda and with some ravishing key the final contest between Robin and the master himself into completing the complex score for several times. I shall never forget his anguished changes, it leads to a lovely solo cello statement of archer Phillip of Arras. Naturally, Robin wins the Robin Hood. protestations of ‘I just can’t do it’ which I overheard the Lionheart theme, as Robin tries to explain to tournament as the fanfares ring out, over and over The release date was moved to 12th May, but in the middle of the night through my bedroom wall. Marian the reasons for his campaign against the again. The Arrest of Robin Hood $ is a partial even so, Korngold had only seven weeks to write it, He was suffering, and at the same time producing Normans. reworking of material from Sursum Corda while the supervise the orchestration (by Hugo Friedhofer, one of his finest scores …” As they walk back to the camp and her love Tribunal and Jail % scenes, which immediately Milan Roder and – for two short sequences – an begins to dawn for him, the lilting strains of Old follow, depend on still further development of the England follow them. After an altercation with Sir Norman Oppression Theme. Korngold’s Guy and some slapstick between Little John and intermeshing of individual motifs is a perfect The Score Friar Tuck (a rare example of Korngold using the counterpoint to the action on screen and is done ‘Mickey Mouse’ technique to match on-screen with exceptional skill. As Robin is manacled in his The structure of Korngold’s score is helped composed) and this was owing to a contractual action) the Flirt reappears, as Marian waves cell, the scene dissolves to Maid Marian (Old considerably by the dramatic construction of the obligation between Warners and MGM, who goodbye from her horse to Robin – one of the most England now heard in the minor key) as she frets film, where the intimacy of the human story was planned a film version of an operetta based on the touching moments in the film. over Robin’s fate. (A brief scene follows this, where offset by a series of tremendous set-pieces – the Robin Hood legend for Jeanette MacDonald and Next – The Tournament # – another she meets the Merry Men to offer a rescue plan but Banquet, the Attack on the Sir Guy’s Party, the Nelson Eddy in 1939 (it was never made). But for marvelous set piece, rather like the curtain up on it is not scored). Archery Tournament, Robin’s Execution and that, I am fairly certain Korngold would have Act 2, with rich heraldic fanfares based on The Gallows ^ is another striking musical Escape and the climactic Coronation Procession, composed an ‘old English ballad’ for the film. No Korngold’s beloved motto theme of rising fourths canvas, borrowing (as noted) a motif from Battle and Finale. These sequences underpinned the matter – his music sings eloquently throughout. (The Motif of the Cheerful Heart), which he had Korngold’s earlier score for Anthony Adverse film and required exceptionally vivid musical Viewed as a whole, the score contains fifteen used in all of his major works since his childhood, (1936) but now re-orchestrated and embellished. accompaniment. Korngold rose magnificently to the primary themes: most especially in his early Sinfonietta. Swirling rising arpeggios are crowned by Robin’s occasion with a score that, even today, is regarded I. The March of the Merry Men The archery tournament has been arranged by trumpet theme, as he is brought to the scaffold. The as one of the finest examples of marrying music II. Richard the Lionheart Sir Guy to trap Robin, and with Robin’s appearance Flight of Robin Hood, as he escapes the noose just with the moving image. III. Prince John and the Normans’ on the field (accompanied by his men in disguise) in the nick of time, is a thrilling adaptation of the As previously, Korngold applied operatic Supremacy (Fanfare) we naturally hear a muted version of the March of last section of Sursum Corda – in particular, technique to his composition. Each character is IV. The Oppression of the Saxons the Merry Men. The orchestration is superb. When matching the Fairbanks-like stunt of Robin clothed in a wonderfully apt theme, from the harsh V. Sir Guy of Gisbourne Robin’s arrow leaves his bow, we don’t need to see swinging up Nottingham Gate by rope. Bar for bar, tones of Sir Guy of Gisbourne to the yearning VI. Robin Hood it – we can hear its ‘whoosh’ in Korngold’s music, it is fitted to the film like a hand in a glove. romance of Lady Marian’s ‘heartsong’ as Korngold VII. Lady Marian’s Heartsong as the trumpet theme sings out. When the camera Finally, we come to the big Love Scene & – the described it in his score. VIII. Old England cuts away to Sir Guy, as he plots with Prince John, a emotional heart of the score, wherein Robin climbs, There is no vocal music of any kind (unlike IX. The Norman Banquet (Processional) strange discordant motif based on Robin’s march- like Romeo, to Lady Marian’s balcony. Given the other historical film subjects which Korngold X. The Chase of Robin Hood like theme heard earlier when he entered the size of Nottingham Castle, this is no mean feat. The

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trumpet theme ring out as they strike. how the music mirrors the action on screen, as the XI. Friar Tuck (The Fish) adaptation from 1928 – Rosen aus Florida (Roses The music effortlessly bridges, one might Merry Men swoop down from the trees onto the XII. The Flirt from Florida) – which is a partial completion of a almost say dissolves, to the wonderfully luminous unsuspecting Norman soldiers. Robin’s trumpet XIII. The Archery Tournament work by Leo Fall! We shall never know just why theme for Friar Tuck (Eugene Pallette) [entitled theme dominates, as Sir Guy’s troop is routed and XIV. The Gallows Korngold identified Robin Hood’s merry men with The Fish 8 on the score] as he sits dozing by the the treasure seized. XV. The Love Music this little waltz, but it proved to be enormously stream, waiting for a catch. The scene opens on the The Flirt !, as the captives are led away to There are at least another six secondary motifs, effective and one of his most popular themes. wriggling fish, which has been caught on his rod, Robin’s camp, is deliciously Viennese to match the and Korngold constantly derives subsidiary One further sequence utilised music he had and the music, with its flute and vibraphone delightful banter between Robin and Marian. It variations on all of his material, often combining composed earlier – The Gallows, where Robin is flourishes, has a translucent, magical sound, caused one member of the Warner Orchestra to dub themes as and when characters appear on screen. He taken to be executed. This is a much elaborated complete with bell-like, monastic effects. Korngold’s score “Robin Hood in the Vienna also adopts his usual practice of assigning different, rescoring of a sequence from Anthony Adverse of a Robin’s Fight with Friar Tuck which Woods”. Arriving at Robin’s camp, the Feast appropriate solo instruments to individual tortuous journey by coach through the Swiss Alps. immediately follows is yet another delightful begins, wherein the March of the Merry Men is characters in underscoring dialogue. The swirling, rising arpeggios are here combined variation on Robin’s theme, as he duels with Tuck recast in a boisterous 2/2 time. Before I turn to the score in sequence, as it with Robin’s trumpet theme to great effect. in the stream. All ends happily and once again, As Robin sits with Lady Marian, Korngold now appears on this recording, a word about Korngold’s As was his practice, Korngold composed the Korngold makes humorous use of the bassoon [A introduces a new theme that he called ‘Lady sources and method. score at the piano, in a method unique to him. Prior New Companion] 9 to mimic Tuck’s rumbling Marian’s Heartsong’ on the original sketch, which As noted, the brilliant trumpet motif from to starting work, I am certain he already knew the tummy at the promise of ‘a venison pastie and the will become increasingly important as the romance Sursum Corda became Robin Hood’s theme and overall shape and structure of his score. Only finite biggest you ever ate… boar’s head, beef, casks of develops in the story. Here it is given a jaunty swing Korngold treats it to an astonishing degree of details, matters of timing and pacing needed to be ale…’. We hear the gentle strain of the March of the and provided with a syncopated bass that perfectly variation, development and embellishment, finding fixed. His anxiety at the initial screening was Merry Men once more, as another key member joins complements the teasing dialogue. When Robin endless possibilities within its complex rhythm. A doubtless caused by so much spectacular action he the band. reveals the tax money that has been seized – a chest secondary theme from Sursum Corda forms the had not envisaged when he was back at home in Robin Hood Attacks Sir Guy’s Party 0 is brimful of gold coins and precious jewels – the basis for the love music between Robin and Marian, Vienna. one of the best-remembered scenes in the film and music fairly glistens accordingly [Gold] and, on while large portions of the central development Nevertheless, he worked quickly as reels of the thanks to the brilliant direction of Michael Curtiz being accused by Marian of planning to keep his ill- section and the climax of this earlier score were film were run for him, over and over again in a and William Keighley, one of the most exciting. A gotten gains, he leaps up to ask his men what he lifted entirely for key scenes. projection room equipped with an upright piano, gradual build up is matched by Korngold’s effective should do with it. Their passionate declaration to The rapid fanfare that concludes the Main Title while he improvised his music in time to the film, and carefully structured scoring. The March of the save it for King Richard, allows the Lionheart and which appears throughout the film to mark the occasionally stopping to make notes. Later, he Merry Men is now transformed into an orchestral theme to burst forth – a memorable moment. supremacy of the Normans and more specifically, would prepare a detailed piano sketch for each tour-de-force. Immediately following, Robin shows Marian Prince John, originally appeared (slightly varied) in sequence and gradually the entire score took shape. As the camera cuts away from the outlaws the Poor People @ – peasants who have been Act One of Korngold’s opera Die Kathrin Because he composed the music as a whole rather preparing to attack Sir Guy’s party, Korngold mistreated or injured by Sir Guy’s brutal forces. (composed almost contemporaneously) while the than in individual chunks, the separate cues flow transforms Sir Guy’s aggressive theme into an Appropriately, it is the theme of Norman famous March of the Merry Men which opens the one from the other, with key relationships observed, almost lyrical accompaniment, befitting his attempt Oppression that we hear, but here transformed into a film and later accompanies the celebrated ‘Attack even when scenes without music are placed to befriend Lady Marian riding alongside. When the sombre elegy. This highly effective patetico on the Treasure Wagon’ is actually based on a waltz between. In this way, much of the score can be attack comes [The Attack], it is simply marvellous treatment then softly bridges to the first, tentative theme Korngold composed for an operetta performed sequentially, end to end, with little

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The Normans’ Fanfare sounds as the assembled held chord. [The Victims]. editing required. Among his contemporaries, requirements, while Friedhofer scribbled copious nobles toast Prince John, and Korngold underscores Next, [Robin Hood Meets Little John] 6 it is Korngold was unique in this respect. notes. Following these meetings, Friedhofer would the flirtatious dialogue between the Prince and Maid a spring day in Sherwood Forest as Robin and Will The time pressure was immense and to ensure return home to begin the orchestration, which Marian (Olivia de Havilland) by transforming the take a morning stroll. A bucolic pastorale based on that the lengthy score could be orchestrated and the would then be turned over to copyists led by Art Banquet Processional into a minuet! Then we hear Robin’s trumpet tune makes it almost sound like a orchestral materials produced, Korngold worked to Grier and Albert Glasser whose job it was to the melting strains of a theme Korngold called ‘Old new theme, so lyrical and romantic has it become. a punishing schedule with his preferred orchestrator prepare the instrumental parts for the scoring England’ and the sequence ends. They encounter Little John, who is whistling an old Hugo Friedhofer who (given the scope of the score) sessions the next day, often working through the Suddenly, a commotion is heard as we see English song (Sumer is Icumen In). The whistle was was assisted by Milan Roder. Meeting in the early night. In this way, the huge job of producing Robin Hood Outside 5; this is a subtle, robust dubbed separately later and there were many takes evening, he would play each sequence to conductor scores and instrumental parts for over 75 variation on Robin’s trumpet tune, which becomes a during the sessions as can be heard on the surviving Friedhofer, on the piano, calling out instructions, minutes of complex music for a 65-piece orchestra swaggering march as he struts into the hall [Robin optical tracks. Korngold was a perfectionist and indicating instrumental colours and any special was accomplished within the tight deadline. Hood’s Entrance] carrying a deer over his worked with the un-named ‘whistler’ until it was shoulders, before flinging it onto the Banquet table just right. in front of an astonished Prince John. After a tense The encounter between Little John and Robin A Listening Guide to the Score exchange, a spear pierces Robin’s chair and a [Robin Hood Fights with Little John] with spectacular battle scene commences [The Fight] quarterstaves on the log is a humorous, good Korngold’s sweeping Main Title 1 opens with the music of the Saxon Oppression. A montage unfolds which is lifted almost entirely from the exposition natured variation on Robin’s theme with a solo famous March of the Merry Men, which deftly of various acts of cruelty, before the scene changes section of Sursum Corda and is one of the most bassoon embellished with pizzicato strings to bridges to the noble, heroic theme for Richard the to Sherwood Forest where Sir Guy of Gisbourne difficult sequences in this score, largely because of suggest Will Scarlet playing his lute nearby ( Little Lionheart before concluding with the brisk fanfare (note his brutal, warlike theme) is preparing to the tempo Korngold demands. John to Will: ‘Hey there pretty fellow…play me a that symbolises Norman Supremacy. It is arrest Much the Miller’s Son (Herbert Mundin) for Considering the music was actually written in tune I can make this puny rascal dance to …!’) The interesting that Robin’s heroic trumpet theme is not poaching. As the brilliant trumpet theme from 1919, it is remarkable how well it fits the images on sequence entitled Jolly Friendship which heard as yet. Sursum Corda rings out [The Meeting] 3, we get screen and one wonders if Korngold influenced the concludes the scene is the first time we hear the After the proclamation in Nottingham that King our first glimpse of Robin Hood (Errol Flynn), or cutting of this scene to fit the film, as he had in March of the Merry Men since the main titles – for, Richard has been captured and held for ransom, the rather Sir Robin of Locksley – he has not taken his previous films. with Little John being invited to join Robin, the scene dissolves to Nottingham Castle where, new name as yet. Riding with his friend Will Scarlet Robin escapes from the castle and The Chase Merry Men are finally coming together. accompanied by a muted version of the fanfare, (Patric Knowles) Robin confronts Sir Guy. Muted of Robin Hood begins with Sir Guy’s brutal theme, The Oath and The Black Arrow 7 is an Prince John (Claude Rains) and Sir Guy of winds accompany the tense exchange as Robin as he commands his troops to pursue Robin. A extended scene where, following the oath of Gisbourne (Basil Rathbone) are plotting to bleed the needles Sir Guy, who rides away in a fury; Robin marvelous night ride through the forest follows, allegiance (poignantly underscored by the Lionheart hapless Saxons of every penny in extra taxes. agrees to take Much as his servant. with every detail caught in the music, Robin’s theme) as the Saxons who have formed Robin’s Pouring red wine to drink a toast to their evil A title card proclaims The Banquet 4 and trumpet tune punctuating the melodic line as the Merry Men swear to fight for the King, we hear plans, Prince John upsets his goblet and as the red Korngold creates a stately processional with a pure arrows fly. again the Oppression theme; there is a gradual build wine spills like blood onto the floor, [Sir Guy and trumpet solo supported by elegant and elaborate A typical Michael Curtiz shot – a silhouette of up of tension through a montage of further cruel acts Robin Hood] 2 we hear a sinuous clarinet figure string accompaniment and archaic cadences to the corpses of dead Norman soldiers, while priests perpetrated by the Normans. As each Black Arrow (matching the dripping wine) as it dissolves into the suggest the pomp and grace of a medieval court. intone Latin prayers – is underscored by a sombre, is fired by Robin to avenge them, we hear his

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Erich Wolfgang Korngold receiving his Academy Award for Robin Hood from esteemed composer Jerome Kern. (Photo © Copyright Academy of Motion Picture Arts and Sciences)

Right: Erich Wolfgang Korngold and Basil Rathbone at a special Robin Hood radio network broadcast on 11th May 1938. (Photo Rudy Behlmer)

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Great Film Music on Marco Polo with William Stromberg & John Morgan

SIR MALCOLM ARNOLD The Invisible Man Returns 8.223747 David Copperfield • The Roots of Heaven The Ghost of Frankenstein • Son of Dracula 8.225167 Sherlock Holmes and the Voice of Terror ADOLPH DEUTSCH Black Friday • Man Made Monster 8.225124 The Maltese Falcon • Northern Pursuit MAX STEINER The Mask of Dimitrios • High Sierra King Kong 8.223763 George Washington Slept Here 8.225169 The Lost Patrol • Virginia City HUGO FRIEDHOFER The Beast with Five Fingers 8.223870 The Adventures of Marco Polo • The Lodger They Died With Their Boots On 8.225079 The Rains of Ranchipur • Seven Cities of Gold The Treasure of the Sierra Madre 8.225149 8.223857 Son of Kong • The Most Dangerous Game BERNARD HERRMANN 8.225166 Garden of Evil • Prince of Players 8.223841 All This, And Heaven Too • A Stolen Life The Snows Of Kilimanjaro • 5 Fingers 8.225218 8.225168 DIMITRI TIOMKIN BERNARD HERRMANN & ALFRED Red River 8.225217 NEWMAN FRANZ WAXMAN The Egyptian 8.225078 Mr Skeffington 8.225037 ERICH WOLFGANG KORNGOLD Objective, Burma! 8.225148 Escape Me Never • Another Dawn 8.223871 Devotion 8.225038 ROY WEBB Cat People • Bedlam • I Walked With A Zombie ALFRED NEWMAN The Body Snatcher • The 7th Victim 8.223857 The Hunchback of Notre Dame Beau Geste • All About Eve 8.223750 VICTOR YOUNG PHILIP SAINTON The Greatest Show On Earth • Bright Leaf The Uninvited • Gulliver’s Travels 8.223857 Moby Dick (Complete) 8.225050 ‘Murder & Mayhem – Great Horror Scores HANS J. SALTER & PAUL DESSAU from Hollywood’s Golden Age’: House of Frankenstein (Complete) 8.223748 MAX STEINER: The Beast With 5 Fingers HANS J. SALTER & FRANK SKINNER VICTOR YOUNG: The Uninvited Son of Frankenstein • The Wolf Man HUGO FRIEDHOFER: The Lodger 8.225132 MARCO POLOKORNGOLD: The Adventures of Robin Hood 8.225268 Time 78:27 Playing 8.225268 Film Score,1938Film (1897-1957) Prince John VictoryThe Battle—The Duel—The 5:36 EpilogueEnd Cast 1:33 1:33 0:35 The Tournament—Robin Hood’s Hood’s The Tournament—Robin Field— at the Archery Appearance Contest— for the Archery Preparation Starts to Shoot—Finale Robin Hood Contestof the Archery of Robin HoodArrest Jail Tribunal—The of Robin The Gallows—The Flight 4:40 Hood 6:38 Love Scene of Lady Marian Arrest 0:47 Much: The Knife Fight Meets Robin Hood—Richard Richard 2:27 the Lion HeartThe Procession 0:45 1:10 6:25 4:03 3:09 ™ £ ¢ ∞ # $ % ^ & * ( ) ¡ Robin Hood Meets Little John— Robin Hood Meets Little Little John— Robin Hood Fights with Jolly Friendship Arrow The Oath and The Black Fight with The Fish—Robin Hood’s 1:58 Friar Tuck Tuck)A New Companion (Friar Party— Guy’s Robin Hood Attacks Sir 0:56 The Attack Feast— Flirt—Feast—Poor People’s 3:56 GoldThe Poor People 3:29 5:12 4:19 5:59 Main Title—Muted FanfareMain Title—Muted Robin HoodSir Guy and The MeetingThe Banquet 1:49 Hood’s Robin Hood Outside—Robin Chase Entrance—The Fight—The 1:49 of Robin Hood—The Victims 6:13 1:11 2:14 Recorded at Mosfilm Studio, Moscow, Russia in February 2003 Moscow, Recorded at Mosfilm Studio, Recording Engineer & Editor: Genadiy Papin Producer: Betta International Notes: Brendan Carroll & Rudy Behlmer Booklet Design: Ron Hoares 6 7 8 9 0 ! @ 1 2 3 4 5 Erich Wolfgang Korngold Korngold Wolfgang Erich the adventures of robin hood by John Morgan Restorations Score by William conducted Stromberg Symphony Orchestra Moscow

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MARCO POLO MARCO KORNGOLD: The Adventures of Robin Hood Robin of Adventures The 8.225268