Sold Date:
April 18, 2022
Start Date:
August 17, 2018
Final Price:
$35.00
(AUD)
Seller Feedback:
126
Buyer Feedback:
0
Alfred Newman / Bernard Herrmann Music From Darryl F. Zanuck's - The Egyptian A 20th Century Fox Production In Cinemascope.
Label: MCA Records – MCA-2029 Format: Vinyl, LP, Repress Country: U.S Released: 1977 Genre: Stage & Screen Style: Score
Tracklist;
A1 Prelude - The Ruins - The Red Sea And Childhood - The Nile And The Temple
A2 Her Name Was Merit
A3 The Pharaoh Akhnaton
A4 Nefer, Nefer, Nefer
A5 The Lotus Pool
B1 The Valley Of The Kings B2 At The Tomb Of Amenhotep (The Great Pharaoh)
B3 The Martyrdom Of Merit
B4 The Death Of Akhnaton
B5 Horemheb, The New Pharaoh
B6 Exile And Death
Credits:
Composed By – Alfred Newman, Bernard Herrmann Conductor [Orchestra] – Alfred Newman Orchestra – The Hollywood Symphony Orchestra And Chorus
Arranger's Notes;
In preparing the music for this recording of Alfred Newman and Bernard Herrmann's score to The Egyptian, my main objective was to distill the almost 100-minute score to the best 70 minutes. My criteria for choosing the music for this recording was based on what I felt worked best away from the film as a musical listening experience. For over forty years, the so-called original 49-minute soundtrack album has been in and out of print many times. Although the film's soundtrack was recorded in four-channel stereophonic sound, the album was only available in mono, with much artificial reverberation added. Furthermore, most of the selections were rerecorded for the album, and Alfred Newman made changes in some of them. For this recording, I have gone back to the primary source materials to present this music as it was originally composed for the film. Some of the full scores for the Newman-composed sections are lost, so I reconstructed them from conductor parts.
In an 15 April 1954 memo from studio head Darryl Zanuck to composer Alfred Newman, always Zanuck's favorite in the Fox music department, the Fox executive wrote: "Undoubtedly The Egyptian will be a big important musical score. More than anything I would like to have you do it but I do not conceivably see how you can do it at the same time you are doing Show Business (There's No Business Like Show Business) and the other many things that you have to do… Who do you suggest for the job? I have been thinking both of Franz Waxman and Bernard Herrmann. I actually favor Waxman for this particular assignment…I believe that Waxman also has a record with us of being reasonably fast." In an 19 April 1954 reply, Newman wrote to Zanuck: "It is needless to tell you that for sentimental reasons I would have liked writing the score for your personal production, but in the best interests of the Company I should do Show Business, especially since it is our first musical in Cinemascope with Stereophonic sound." Because of his loyalty to Zanuck, Alfred Newman assigned his brother Lionel to help with the musical chores on There's No Business Like Show Business so he could clear his slate and start developing thematic material for The Egyptian. Despite this effort, and because the film had a fixed commitment for the world première, Newman brought staff colleague Bernard Herrmann aboard as primary composer after he had developed some of the thematic material for the film, hence some of the Herrmann-composed cues have the notation: "Music developed by Bernard Herrmann from themes composed by Alfred Newman." When the première date was moved ahead again and since Newman was free of There's No Business Like Show Business, Herrmann, never the easiest artist to work with, suggested they collaborate on the score – a testament of the rare respect Herrmann allotted Newman. Edward Powell provided the original orchestrations for the Newman-composed material, while Herrmann, as was his custom, did his own orchestrations.
Bernard Herrmann and Alfred Newman shared conducting duties in the original recording sessions, with each conducting his own music. They each had their own emphasis and conducting styles to bring to the music: Newman insisted on precision, smoothness, and absolute beauty of tone, while Herrmann stressed energy and in-your-face dynamics, which resulted in a certain barbaric roughness to his performance. I am particularly pleased that conductor Bill Stromberg was able to bring these disparate conducting styles into his own interpretation of the music. John Morgan
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