Intrada Soundtrack Forum

July 04, 2000

The Patriot
Composed And Conducted By John Williams
Centropolis Records/Hollywood Records HR-62258-2
17 Tracks | Total Time = 72:38

A new John Williams album. A modest work by him takes the stuffing out of any challenger. This is a good one.

The territory is familiar. There’s Far And Away and The Olympic Spirit and just a touch of Saving Private Ryan. All great stepping stones. Williams has been here before so the musical vocabulary of The Patriot breaks no new ground. Perhaps it doesn’t need to.

Mel Gibson wants to avoid the Revolutionary War but gets sucked into it. Lots of battles result. It’s a setting few movies have dealt with lately. Revolution comes to mind but no one saw it. There are Redcoats in Last Of The Mohicans. I’m sure there are others but I can’t remember them right now.

The centerpiece of everything is, of course, American independence. Williams makes that his keynote. While the score has moments of furious action the common mood is soaring, patriotic, like the melodies in his numerous fanfares. Action comes every so often, but expect a generous amount of darker, somber material.

Orchestral requirements were big. In addition to large string, woodwind and percussion sections there were six horns, four trumpets, four trombones and two tubas. That’s big.

Speaking of brass, there are some great passages for brass alone. One of them comes near the tail of the first piece, "The Patriot", reprised at the end of the album. What makes it striking is that it combines a chorale-like idea with dissonant harmonies. The piece actually opens with the secondary theme, an Irish-flavored tune for violin, the Far And Away territory. Taking over later is the primary theme, a soaring tune, the Olympic Spirit territory. There’s also the requisite fife and drum. Combined these several ideas make a richly thematic track.

One of the action ideas heard frequently is a tour-de-force motif spit out by trumpets in unison. It’s debut comes with "The Colonial Cause". One of the strongest tracks, the music begins with a statement of the primary theme. Upon completion the melody gives way to the burst of trumpets. The entire piece generates a fair amount of energy, highlighted by a return of the primary theme and splendid fanfares for the brass.

"Redcoats At The Farm and The Death Of Thomas" introduces a darker, somber style. The moodiness is maintained until the end with a brief return of the spitting trumpet figures.

Those trumpets open "Preparing For Battle". In one of the best moments of the score the action motif spits out, snarls, then emerges an exciting fanfare behind the primary theme.

Many passages throughout the score utilize rich Americana harmonies. Major chords that surge, carry soaring melodies aloft. Barber-like string passages, so forth. They balance with the patriotic material.

"Tavington’s Trap" provides a foundation for the action. Less florid than pounding, it’s a percussive juggernaut. A midsection combines virtuoso bits for brass over aggressive lower strings. A dissonant cluster brings it to a close.

For fans of Williams in his ferocious mood there’s a trace of it during "Martin vs. Tavington". Only the brevity of this section keeps it from becoming a real set piece.

Williams brings the score to a rich conclusion during his five-minute "Yorktown and the Return Home". Solos abound for horn, clarinet. Surging harmonies prevail, the patriotic main theme soars. And in a particularly strong ending, the orchestra tacets momentarily as brass alone descend with a series of powerful major chords.

As would be expected, the recording is clean, crisp, dynamic. Several bass drum hits stand out. So do the low strings. And when trumpets burst in with angry figures the crispness is striking. Credit goes to Shawn Murphy and the recording facility of Sony Pictures, once the legendary MGM scoring stage.

It may be somewhat familiar turf for John Williams but it’s undeniably stirring stuff.

July 11, 2000

Tora! Tora! Tora!
Composed And Conducted By Jerry Goldsmith
Film Score Monthly FSM Vol. 3 No. 4
21 Tracks | Total Time = 55:57

An important release. Big composer, big title. Amazingly, one of those big "roadshow" pictures that never got a soundtrack issued.

Until now.

Jerry Goldsmith had recently done 100 Rifles. Several ideas stayed with him when he scored Tora! Tora! Tora! Piano left hand, no right. Lots of low notes. Little upper string writing; violas, cellos and basses dominate instead. So forth.

Coming soon was Patton. But there were fewer similarities on that one. You’d have thought it would have been the other way around.

Patton was a war movie, so was Tora! Tora! Tora! But Patton was about a man. Patriotic warrior, reincarnated warrior, religious warrior. Goldsmith made movie music history by tackling all three traits, sometimes individually, sometimes simultaneously. Music once evoking the field of battle long ago, next layering a chorale of strings and brass behind prayer, later calling arms for duty and country.

Tora! Tora! Tora! wasn’t about a man. It was about Japanese honor, military might, tradition. It was about an inevitable collision with America. It was about mishaps, poor communications, failing diplomacy. Finally it was about the Japanese attack on Pearl Harbor. And here the movie ended. Immediate tragedy for the Americans. And as history has shown, pending disaster for the Japanese.

No winners at the end of this movie.

When approaching dramatic needs in a movie Goldsmith has no equal. Witness Tora! Tora! Tora! Goldsmith found his emotional center in scoring Japanese honor yielding to inevitable tragedy. The main theme is Japanese, the architecture tragic. There’s a sound that feels Japanese, yet the development and minor-key emphasis remains incredibly sad. As usual with this composer, Goldsmith found the perfect "mood" to score.

It’s an amazing theme, used to proudly accompany Japanese warriors lined up in formation on decks readied for battle. In a stunning "Main Title" the camera pans row after row of proud, saluting men prior to their fateful date with history. You can hear nobility in the melodic shape of the tune, flowing smoothly and grandly over an insistent rhythm of percussion. But Goldsmith does so much more with this theme.

First unfolding as a duet for koto and serpent (large wooden tuba-like instrument) the main theme is established. But percussion activity increases. Orchestration grows dense. Layers are added rather than stripped. Woodwind figures, muted trumpets complicate the tune. Everything grows. For a moment a new idea takes over in brass, part of which later becomes an important secondary idea. Then everything focuses on the inevitable fate to come, the orchestra swells in a massive statement of the theme. Elegant, imposing visuals married to powerful music. There are few more gripping title sequences.

An interesting note. Virtually all melodies are given to Japanese sequences. American scenes, when scored, are free from any tunes at all. In place of themes all activities of mishap by American command are underscored with a pulsation of sorts, a literal musical ticking of the clock.

With dramatic perfection much of the score becomes a layer of tension under visuals. Cues like "The Waiting Game", "Sunday Morning" and "The 14th Part" serve to tighten the mood with pulses of activity, rhythmic ideas that throb, refuse to retreat.

In contrast, "Little Hope", "Pre-Flight Countdown" and "On The Way" bring the Japanese closer to Pearl Harbor and the irrevocable collision with destiny. Big stuff to catch in music. But Goldsmith does. In a particularly striking sequence Goldsmith catches the pride of the Japanese pilots with his theme, adding virtuoso runs and glissandi from woodwinds and brass as the morning sun bursts through clouds.

"Pre-Flight Countdown" makes a terrific cue. Goldsmith builds a variant of his theme as pilots on the Akagi prepare for takeoff. The final salute between Commander Genda and Lt. Commander Fuchida is captured with a powerful unison descending line for strings, landing with a thunderous cadence of percussion. Goldsmith rarely goes for specific on-screen action in this score but during "Pre-Flight Countdown" he made it happen. It’s a highlight.

The finale of the score brings back the main theme, colored this time with more complex layers of dissonant activity. No need to wonder why.

The stereo sound of the recording is spectacular. Dynamic, incredibly close-miked, perfect for details in the massive percussion section. Packaging is beautifully presented, informative. Bonus tracks include source music for the military band scenes, versions of the theme recorded for other commercial purposes, so forth.

A footnote. This score and Patton were re-recorded in Scotland by Goldsmith for Varese Sarabande but inexplicably downplayed the percussion writing on both to a point of invisibility. If your familiarity with the score for Tora! Tora! Tora! is limited to that album be aware you haven’t yet even begun to hear what the score was about.

This release of Tora! Tora! Tora! from Film Score Monthly, as with their earlier release of Patton, presents the original soundtrack recording with all the detail intact.

Grab this one and hear master Jerry Goldsmith during one of his richest periods. I’ll assume you have Patton already. Doesn’t everybody?

July 18, 2000

Battle Of The Bulge
Composed By Benjamin Frankel
Conducted By Werner Andreas Albert
CPO 999 696-2
18 Tracks | Total Time = 78:56

Great score!

If you’re new to this one you’ve a treat ahead. If you know the original soundtrack album you’re in for an extra kick. This new recording is better played!

The music qualifies as mammoth. Shostakovich and Prokofiev territory. More than a half dozen major themes and motifs. A huge orchestra with virtuoso demands, especially for upper strings and brass.

A really neat trademark. While scoring is often massive, solos are frequent. Individual players cut through with themes, motifs, other ideas. They’re often in difficult registers to play, frequently during dramatic moments. French horn, tuba and trumpet have particularly exposed stuff.

The 1965 recording presented half the score. Credited to the New Philharmonia Orchestra under Frankel’s baton the playing suffered considerably. "The German Tanks Emerge And Break Through" was plagued with trouble spots for the orchestra. In fairness, demands to get the original sessions recorded, including synching to picture, were probably formidable. Still this new recording hits more right notes. "The Attack on the Fuel Depot Fails and Hessler is Killed" is miles ahead in accuracy and overall power. Parentheses here: I am not making these titles up.

Back to the right notes. Credit Werner Andreas Albert and the Australian musicians. Those unaware take note. Albert and the CPO label are not new to recordings, Frankel or otherwise. They’ve been recording cycles of Hindemith and Korngold for some time. In fact they’ve been doing Frankel for many years. Around now are his numerous symphonies, overtures, violin and viola concertos, string quartets and more. No one could be more suited to tackle Battle Of The Bulge than Albert.

Frankel had a prolific film career too. Landmarks in British movie music include a pioneer 12-tone score for Curse Of The Werewolf.

The music for Battle Of The Bulge requires several playings to absorb it. On first listening one gets overwhelmed with the sheer weight of everything. The architecture is straightforward but there’s much to digest. Crosscutting between themes and motifs, solos emerging from loud tutti passages, those fierce violin parts, all benefit from deeper study.

Don’t let that scare you. Frankel’s vocabulary is accessible. Most themes are easily recognized. Harmony predominates. Listeners interested can dig further though and find Frankel really "into it".

Copious booklet notes (including musical examples) describe everything in detail. A score this big will have numerous highlights. Here’s a few of my favorites.

At the end of the "Prelude" there’s a victory theme. Part way through upper voices descend while basses ascend from way down below. Nothing fills in the middle. It’s a neat, vast open sound. Discovering the melody appears only once more makes it all the more stirring.

Lt. Col. Kiley (Henry Fonda) has a theme, heard early in "Aerial Pursuit". Kiley believes Germany plans a desperate offensive in the Ardennes. His fears are warranted. Germany launched the attack, forcing the biggest land battle of World War II. In the movie, Kiley has trouble convincing superiors the attack is coming. His lonely theme plays on solo horn, in a minor-key. In a score full of epic qualities this melody stands out.

"Massacre at Malmedy" spotlights the killing of American POWs. Strings play a tragic theme and tubular bells toll above it all. Intended for one of the most dramatic scenes (George Montgomery’s big moment) it’s a sobering sound.

Near the start of "Night Assault on Ambleve", cutting through the orchestra are formidable arpeggio figures, first on trombone then trumpet. They recur later in the cue. They’re difficult to play and sound awesome amidst the orchestral fury. It’s a cue previously unrecorded.

Another premier recording is "Soldiers in Hiding", featuring a warm version of the Lt. Weaver theme (James MacArthur) on trumpet. The melody’s followed by a strong fanfare passage in a major key. This cue, in fact, has several strong moments.

Yet another new cue follows, "Hessler in High Spirits", and another nice touch. Kiley’s sad horn theme returns and a brief variant in a major key stands out. Kiley’s plane flies through fog searching for German tanks. He locates them but crashes before returning. A long cue (over seven minutes) it uses several major motifs plus an effective and dramatic reprise of the movie’s main German Panzerlied theme.

"Final Tank Battle" running nearly six minutes, spotlights a key scene for Robert Ryan and Robert Shaw engaged in battle. It’s yet another previously unreleased cue.

One of the best moments, heard on the original album too, comes during "The Attack on the Fuel Depot Fails and Hessler is Killed". Midway through, following a massive, pounding crescendo the orchestra launches into a powerful rhythmic motif complete with trumpet trills. Wow!

A final observation. Here’s a score with a solid finish, very important to me. After a massive hour and a quarter Frankel wraps up in resounding fashion. What makes it special? That stirring victory theme making its one other appearance.

This album’s a beautiful project vividly realized, recorded, packaged. It lasts nearly as long as the battle did, might be as noisy, but does warrant repeating.

July 25, 2000

Hammett
Composed And Conducted By John Barry
Prometheus PCR 506
18 Tracks | Total Time = 43:39

A winning new club release from Prometheus.

Hammett had a limited release in 1983. Wim Wenders directed, Francis Ford Coppola executive- produced. A few of us saw it.

Frederic Forrest plays author Dashiell Hammett. A real-life mystery unfolds in a great looking, deliberately-paced story. Barry certainly had a voice in it. His music was background and foreground. It had to play three roles too. A place (San Francisco), a time (the twenties) and a mood (dark).

Barry identifies place with colors including oriental percussion. He catches the era with small ensemble jazz pieces. Mood is set by smoky clarinet over piano in a minor key.

Orchestration is important. Barry uses solo clarinet, piano, strings and percussion for his score. But no brass. This keeps things moody. Source cues go the other way. Lots of trumpet and trombone. This allows on-screen source pieces to function realistically and stay distinct from the darker underscore. Kinda like two scores. Barry smoothly weds the two through overlapping certain harmonies. His third color combination, occasional oriental percussion, maps the specific Chinatown locale.

Producers Ford Thaxton and Luc Van de Ven have wisely separated the two main colors into blocks. The score, comprising about 25 minutes, is followed by source music running 18 minutes. While mingled within the movie’s sound design, for listening purposes the moodier underscore is far better served as a stand-alone suite. It’s certainly the focus of the album.

Piano begins the "Main Titles". Clarinet enters with the main theme. It sways, ducks about the piano. For two minutes the simple duet works in and around the primary material.

"Hammett’s Dream" also begins with piano. The theme plays as Barry weaves a single mood. Sustained strings enter, others play a recurring figure. Tension is increased simply by adding to the density of the music. The simple design remains.

Oriental percussion flavor "Chinatown’s Incident" but Barry skillfully roots the locale music with harmonic devices from his other material. The score branches out yet remains cohesive. Having established the Chinatown flavor Barry pushes his envelope a bit with the more authentic "Wild Pipa".

The recurring material in "You Can’t Forget Her" draws you deeper into that dark mood. Cadencing in a pianissimo, the joining ""Don’t Be A Chump, Let Her Go!" section creates a sense of agitation. It’s still linked with the previous material. The score now returns to the familiar piano and clarinet swagger through "Hide and Seek".

When the score appears to have played all of its cards "The Opium Den" tosses a new one on the table. Both low and high strings work a moment then give way to yet another new sound, heard during "Escape From Fong’s". For a brief period agitated upper strings play a virtuoso "ostinato" over a short ascending figure. Barry has upped the ante.

New harmonies mingle with familiar ones during "Waterfront Rendezvous". Woodwinds on the new ones, strings on the familiar. It makes a rich, distinctly "Barry" sound.

A low piano and string line, quasi-passacaglia, roots the "The Wrap Up". Clarinet and piano contemplate new material based on the main theme, then give way to a final look at previous recurring harmonies and ideas. Piano takes over and draws the "Finale" to a close unaccompanied.

A strong reprise of the clarinet and piano duet, hammering at the main theme, brings the "End Credits" and the entire suite to a satisfying conclusion.

Source cues follow. A variety of styles, solos, small ensemble sounds. They can be heard as contrast to the previous orchestral suite, played alone as jazz music, or ignored.

Special note goes to the sound of the orchestral suite. Sonority of the clarinet, weight of the piano playing, smoothness of the strings - all are richly captured without an emphasis on brightness. The darker mood prevails. It’s perfect. Attractive artwork and informative liner notes by James Southall complete this terrific package.

Prometheus continues to add to their limited release series with choice projects from first class composers. Previous titles feature music by Bruce Broughton, Jerry Goldsmith and Alex North. With John Barry joining the roster this label just gets better and better.