FSMCD Vol. XV, No. I Ben-Hur Complete Soundtrack Collection Supplemental Liner Notes Contents The Film Score 1 The Early Vinyl Saga 10 Additional Alternates & Bonus Tracks 18 Cue Assembly Guide 21 Liner notes ©MMXII Film Score Monthly, 4470 W. Sunset Blvd. #705, Los Angeles CA 90027. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com Ben-Hur ©MCMLIX Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. FSMCD Vol. XV, No. I • Ben-Hur: Complete Soundtrack Collection • Supplemental Liner Notes The Film Score The following track-by-track analysis provides a is marked not only by a beautifully contoured melody general overview of Ben-Hur’s story and score. More with rich, modal harmonization, but by an active bass detailed analyses and additional information can be line that almost always moves in contrary motion. In found in other sources—particularly Ralph Erkelenz’s typical Rozsa´ fashion, a short but significant contrapun- exhaustive study, “Ben-Hur—A Tale of the Score,” pub- tal idea adds to the texture throughout the cue. lished in Pro Musica Sana and available (in part) on Adoration of the Magi (1:26–3:31) As the Wise the Miklos´ Rozsa´ Society Web site. All references to Men present their gifts and prostrate themselves be- the “score” in this analysis (and the description of al- fore the Christ Child, a simple, pastoral tune lends both ternates and album versions) refer to the conductor’s dignity and innocence to the scene. The descending short score, in a studio copyist’s hand, housed in the half-step figures at the end of each phrase echo the cows Library of Congress. seen (and heard) on screen. Unlike either the film or the earlier Rhino release Disc I of Rozsa’s´ score, FSM’s presentation of this Nativity 1. Overture Rozsa´ raises the curtain with a med- sequence overlaps Rozsa’s´ two cues as the composer ley of four principal themes from the picture. After the originally intended. FSM has also included the choral sonorous and commanding “Anno Domini” motive, the overlay throughout all of “Adoration” (the film delays composer introduces his yearning theme for Judea in adding voices until the middle of the cue). a unique setting quite unlike its treatment in the film 4. Shofar Call The sound of a shepherd’s horn proper. Woodwinds intone the melody against a back- echoes through the night, symbolically announcing the ground of pizzicato strings (simulating a large lyre). Redeemer’s birth. When the melody repeats, it moves to the string section, 5. Fanfare to Prelude (0:00–0:11) While the cam- with violins playing on their lowest string to impart an era holds on the dark blue sky, a fanfare from the full especially warm color to the sound. Rozsa´ adds a wood- M-G-M brass section follows the sound of the ram’s wind countermelody built from stacked fourths (thus horn. It commences with archaic open fourths but relating it to the “Anno Domini” motive) with arpeg- moves quickly to rich triadic harmony as the title card gios from harps and piano driving the music forward. appears on screen. The love theme follows, beginning in middle-register Prelude (0:11–2:05) The Christ theme in all its glory strings soon overtaken by full-throated, high-lying vio- (marked triple forte and con tutta forza—with all force) lins. This in turn yields to the theme for Miriam, with greets the film’s subtitle, “A Tale of the Christ.” This its countermelody (derived from the opening phrase of leads directly to the introduction of Rozsa’s´ theme for the principal tune) in violas and celli. The last theme Judah Ben-Hur (Charlton Heston), proudly proclaimed the composer introduces here is the “Friendship” mo- by violins, violas and horns over a flurry of woodwind tive, its warm parallel triads leading to a hushed reprise figuration and harp arpeggios while the camera closes (molto tranquillo) of “Anno Domini.” in on Michelangelo’s The Creation of Adam. A segue to 2. Anno Domini “Anno Domini” returns (in a new the love theme provides a contrasting B section with key) to open the narrative—its impact especially strik- a greater emphasis on lyricism, but Judah’s theme re- ing due to the atypical silence of M-G-M’s trademark turns. The cue concludes with “Anno Domini” as the lion, Leo. As a voiceover establishes historical context title card bearing “Anno Domini XXVI” dissolves to the for the drama to follow, Rozsa´ develops his Judea theme Judean countryside, where a column of Roman soldiers with a countermelody that foreshadows a similar idea marches through Nazareth. in the love theme from El Cid. After a sustained chord Marcia Romana (2:05–3:59) An unvarying two- against which a vocal overlay suggests the chanting of measure bass ostinato underpins the first of Rozsa’s´ Ro- temple priests, the theme resumes. A brief hint of the man marches for the film. It anchors not only the march Christ theme appears when the narrator describes the proper but also the introduction and coda, which refer- people’s hope for a promised Redeemer. ence the Judea theme in a martial variation. Because the 3. Star of Bethlehem (0:00–1:26) The film suddenly music serves as underscore rather than emanating from cuts to a night sky ablaze with stars. One, especially an onscreen source, the orchestration includes strings— bright, moves purposefully across the dark blue firma- unlike the other marches in the film, which Rozsa´ scored ment. The rich, hymn-like theme Rozsa´ introduces here for winds and percussion only. will later be associated with Balthazar (Finlay Currie) 6. Spirit and Sword A hushed setting of the Christ and his search for the Christ, whose birth he now hon- theme accompanies Jesus (whose face is never seen) ors with his fellow Magi. Its stately, dignified progress walking in the hills. The march returns as the Roman co- ©MMXII Film Score Monthly 1 FSMCD Vol. XV, No. I • Ben-Hur: Complete Soundtrack Collection • Supplemental Liner Notes hort approaches Jerusalem. This cue was a late addition daughter, Esther (Haya Harareet), to marry. When Es- to the score, written and recorded after the film’s pre- ther appears, Rozsa´ introduces his love theme in a sub- views. Rozsa´ had previously composed two cues (both dued setting, with muted violins carrying the melody. entitled “His Father’s Business”) for this sequence, but Solo oboe picks up the principal line in the B section never recorded them. One featured an alternate Christ (much of it cut from the finished film), but violins re- theme that Rozsa´ eventually abandoned—except for a sume the melody when the A section returns. The re- brief passage in the “Finale.” strained tone of the music speaks both to Esther’s sub- 7. Salute for Messala Eight onscreen trumpets missive and resigned attitude toward her arranged mar- greet the Roman tribune, Messala (Stephen Boyd), as he riage, as well as to the deep and profound effect she has arrives to assume command of the garrison in Jerusalem. on Judah. He grants her freedom as a wedding gift, but An ensemble of trumpets, flugelhorns, French horns and when he asks her if she loves her fiance,´ Rozsa´ subtly trombones performed the cue in Rome. The first eight inserts a hint of gentle discord with a new idea featur- bars of the 16-measure cue do not appear in the film—or ing solo clarinet echoed by celli. The principal theme on this CD, as the only portions of the Rome recording returns as Judah gives Esther permission to marry. that survive are those ultimately used in the picture. 12. The Unknown Future (outtake) In this un- 8. Friendship Messala, son of the former Roman used cue, solo clarinet continues the mood of the pre- governor, greets his boyhood friend, Judah Ben-Hur, ceding B section until violas intervene with Messala’s at the Roman fortress. Rozsa´ infuses his theme for theme. See Ralph Erkelenz’s analysis in Pro Musica their friendship with warm triadic harmony and gen- Sana for a description of the cut scene Rozsa´ most likely tly dotted rhythms. When Messala challenges Judah to intended this music to accompany. Erkelenz makes a friendly spear-throwing contest, Rozsa´ prepares for a strong case for programming this cue after “Ring the Roman’s thrust with a sequence of climbing triads for Freedom,” but FSM has followed the reel and part that climax in a radiant F# major chord as Messala’s numbers (6M1), which places it after “Esther” (5M2) spear hits a crossbeam. The composer repeats the same and before “Love Theme” (6M2); it also provides an musical idea for Judah’s attempt, building to an even effective musical contrast between two cues focused on more ecstatic B major conclusion. The music subsides the love theme. as the conversation turns to politics and the first signs 13. Love Theme (0:00–2:06) An understated pre- of conflict between the two friends appear. Rozsa´ re- sentation of the love theme for alto flute and harp plays flects the change of mood with subtle alterations to the quietly beneath dialogue as Judah and Esther begin to music, adding sevenths and ninths to the harmony and explore (and reveal) their true feelings for one another. abandoning the confident dotted rhythms in the melody. Muted strings pick up the theme, but it remains low-key, (The finished film dropped the grim statement of Mes- gentle and mid-range.