225153bk Kilar EC 31/10/02 10:46 pm Page 16 Classic film music in great new digital recordings Design: RonHoares 225153bk Kilar EC 31/10/02 10:46 pm Page 2 Bram Stoker’s Dracula 1992 (23:13) PHILIP SAINTON FRANZ WAXMAN Moby Dick (Complete) 8.225050 Rebecca 8.223399 (USA 8.225146) 1 The Brides 4:24 HANS J. SALTER & PAUL DESSAU Mr Skeffington 8.225037 2 The Party 2:26 House of Frankenstein (Complete) Objective, Burma! 8.225148 3 Mina/Elizabeth 4:18 8.223748 ROY WEBB 4 Vampire Hunters 3:03 HANS J. SALTER & FRANK SKINNER Cat People • Bedlam • The Body Snatcher 5 Mina/Dracula 4:45 ‘Universal’s Classic Horror Scores – I Walked With A Zombie • The 7th Victim 6 The Storm 4:11 Monster Music’: Son of Frankenstein 8.223857 The Invisible Man Returns • The Wolf Man VICTOR YOUNG König der letzten Tage 1993 (20:06) 8.223747 The Greatest Show On Earth • Bright Leaf ‘Universal’s Classic Scores of Mystery and The Uninvited • Gulliver’s Travels 7 Intrada 3:16 Horror”: The Ghost of Frankenstein 8.223857 Sherlock Holmes and the Voice of Terror 8 Sanctus 3:54 ‘Captain Blood’ Son of Dracula • Black Friday 9 Canzona 4:05 MIKLÓS RÓZSA: The King’s Thief Man Made Monster 8.225124 0 Miserere 2:39 ERICH KORNGOLD: Captain Blood DMITRY SHOSTAKOVICH MAX STEINER:The Three Musketeers ! Agnus Dei 2:31 The Fall of Berlin (Complete) VICTOR YOUNG: Scaramouche @ Gloria 3:41 The Unforgettable Year 1919 8.223857 8.223607 MAX STEINER ‘Historical Romances’ Death and the Maiden 1994 (12:08) King Kong 8.223763 MAX STEINER: The Charge of the Light # The Confession 4:55 The Lost Patrol • Virginia City Brigade • ALFRED NEWMAN: Gunga Din ERICH KORNGOLD: Juarez • Devotion $ Paulina’s Theme 3:43 The Beast with Five Fingers 8.223870 8.223608 They Died With Their Boots On 8.225079 % Roberto’s Last Chance 3:29 ‘Music for Frankenstein’ 8.223477 The Treasure of the Sierra Madre 8.225149 ‘Murder & Mayhem – Great Horror Scores ^ The Beads of One Rosary 1980 4:04 Son of Kong • The Most Dangerous Game 8.225166 from Hollywood’s Golden Age’: MAX STEINER: The Beast With 5 Fingers Pearl in the Crown 1972 (3:57) RALPH VAUGHAN WILLIAMS VICTOR YOUNG: The Uninvited 49th Parallel • Coastal Command & HUGO FRIEDHOFER: The Lodger Cue numbers 26-27 1:43 Story of a Flemish Farm • Three Portraits 8.225132 * Cue number 28 2:14 from the England of Elizabeth 8.223665 (USA 8.225143) 8.225153 2 15 8.225153 225153bk Kilar EC 31/10/02 10:46 pm Page 14 Great Film Music from BERNARD HERRMANN Wojciech Kilar Film Music Garden of Evil • Prince of Players 8.223841 Marco Polo . Jane Eyre 8.223535 (USA 8.225142) Born in Lvov, formally Poland, now Ukraine, on 17th July, 1932, Wojciech Kilar studied at the State Higher School of Music in Katowice, moving to Paris in 1959 to study under Nadia SIR MALCOLM ARNOLD The Snows Of Kilimanjaro • 5 Fingers Boulanger at the Conservatoire. The recipient of numerous international awards, including the 8.225168 David Copperfield • The Roots of Heaven Lili Boulanger Memorial Fund Award in 1960, and two awards from the Polish Minister of 8.225167 BERNARD HERRMANN & ALFRED Culture in 1967 and 1976, Kilar scored his first film in 1960, and went on to write music for GEORGES AURIC NEWMAN Poland’s most acclaimed directors, including Krzysztof Kieslowski, Krzysztof Zanussi, La Belle et la Bête (Complete) The Egyptian 8.225078 Kazimierz Kutz and Andrzej Wajda. 8.223765 (USA 8.225144) ARTHUR HONEGGER Kilar had worked on over a hundred Polish films before scoring his first American film, Orphée • Thomas l’imposteur • Ruy Blas Crime et Châtiment • L’Idée • Farinet Francis Ford Coppola’s Bram Stoker’s Dracula, followed by acclaimed scores for Roman Les Parents terribles 8.225066 Le Déserteur • Le Grand Barrage 8.223466 Polanski’s Death and the Maiden and The Ninth Gate, and Jane Campion’s Portrait of a Lady, Notre-Dame de Paris • Lola Montez Les Misérables (Complete) typified by expressive themes and minimalist harmonies. As well as his film work, Kilar Farandole 8.225070 8.223181 (USA 8.225145) continues to write concert music, including a Horn Sonata, a Wind Quintet, the epic cantata La Symphonie Pastorale Les Misérables • La Roue • Mermoz Exodus [Naxos 8.554788] used as the trailer for Schindler’s List, and a Piano Concerto. Kilar’s Macao, l’enfer du jeu • Le salaire de la peur Napoléon 8.223134 (USA 8.225139) first film score in the 1960s, The Debutant, coincided with the radical heyday of the Warsaw Du rififi cher les hommes 8.225136 Autumn Festival. In 1974, the musical simplification of the orchestral work Krzesany [Naxos Mayerling • Regain 8.554788] was anticipated by a series of scores for Krzysztof Zanussi’s films. In this way, the ARTHUR BLISS Le Démon de l’Himalaya 8.223467 two main strands of Kilar’s creative output can be seen to have penetrated and influenced each Christopher Columbus • Baraza JACQUES IBERT Seven Waves Away • Men of Two Worlds other. 8.223315 (USA 8.225141) Macbeth • Golgotha • Don Quichotte Kilar’s film music is, by necessity, one of limitation. Given the medium, the composer cannot 8.223287 (USA 8.225147) have a creative free hand. Film music must be discreet, occurring only where it deepens the ADOLPH DEUTSCH ARAM KHACHATURIAN psychic states of characters or intensifies the dramaturgy of a given moment, conveying the The Maltese Falcon • Northern Pursuit essence of the work in the process. Put another way, good film music should not try to dominate The Mask of Dimitrios • High Sierra The Battle of Stalingrad • Othello the viewer’s perception. It cannot create a parallel narration and, because of this, the composer George Washington Slept Here 8.225169 8.223314 (USA 8.225140) has consciously to limit his creative potential. From this perspective, one can admire the strength ERICH WOLFGANG KORNGOLD FRÉDÉRIC DEVREESE of expression of Kilar’s film scores: clarifying and deepening those scenes which cannot be Escape Me Never • Another Dawn Benvenuta Suite • Un Soir, un Train expressed either in pictures or words, and where music can function with all its power. 8.223871 L’Œuvre au Noir Suite • Belle 8.223681 Thanks in part to its powerful music, Bram Stoker’s Dracula (1992) was acclaimed as one of HUGO FRIEDHOFER Devotion 8.225038 the most authentic versions of the Dracula story, and won Kilar the ASCAP Award. Beside the The Adventures of Marco Polo ALFRED NEWMAN horror element, it has some evocative music surrounding the more ‘gothic’ aspects. One instance The Lodger • The Rains of Ranchipur The Hunchback of Notre Dame is the Prokofiev-like ‘The Brides’, passionately thrusting strings over moody piano and Seven Cities of Gold 8.223857 Beau Geste • All About Eve 8.223750 percussion, which opens the suite. By contrast, ‘The Party’ is awash in delicate tracery for 8.225153 14 3 8.225153 225153bk Kilar EC 31/10/02 10:46 pm Page 4 violins and glockenspiel, almost make-believe in its air of fantasy. A depiction of the two nombreuses médailles de travailleur. En vue de la construction de nouveaux appartements, les heroines in the film, ‘Mina/Elizabeth’ is a fine example of Kilar’s melodic gift, recalling vieilles maisons sont évacuées et leurs résidents se voient offrir des appartements dans le nouvel composers as different as Khachaturian and Arnold in its scoring for strings and harp. Over a immeuble. Mais Habryka tient à sa maison pleine de souvenirs et refuse de la quitter, ne cédant relentless, Mars-like rhythmic ostinato, ‘Vampire Hunters’ conjures up an air of foreboding. que lorsque le patron de la mine lui offre une maison neuve. Malheureusement, celle-ci est isolée ‘Mina/Dracula’ underscores the dénouement of the film, strings rising from the depths, to be et Habryka et sa femme s’y ennuient. Habryka meurt dans son sommeil et on l’enterre comme un joined by wistful cor anglais and flute in an atmosphere of calm inevitability. Then ‘The Storm’ héros, pour rendre hommage à l’un des plus vieux mineurs du district. Une bonne partie de bursts in with Herrmann-like jabbing violins and a steady march rhythm, over which the chorus l’émotion du film est distillée par le bref morceau inclus sur ce disque, où le piano semble intones a menacing chant which vividly evokes the forces of darkness. évoquer le passage du temps, la trompette et les bois aigus s’alliant pour une valse nostalgique. König der letzten Tage (The King of the Last Days) tells of the rise and fall of the false La perle de la couronne (1972), également réalisé par Kazimierz Kutz, figure parmi les prophet John of Leyden, who, as leader of the Anabaptists, set up a short-lived New Jerusalem in moins connues des musiques de film de Kilar. Tourné à la suite des troubles qui secouèrent la Münster during 1534. The opening ‘Intrada’, opulently scored for strings, graphically invokes Pologne industrielle en 1970, elle fait allusion à des événements similaires des années 1930. Les biblical imagery and religious intrigue. ‘Sanctus’ depicts the intense emotions of the Anabaptist propriétaires d’une mine de charbon silésienne qui ne rapportait pas assez décidèrent de la fermer zealots, with another of Kilar’s characteristic choral chants. ‘Canzona’ is an elegiac interlude in et le syndicat des mineurs réagit en occupant le puits. Ce qui débute sur une note d’espoir et de the drama, cor anglais and harpsichord combining poignantly with strings.