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why didnt you include it in the s and s thread then, leslie??
you still can. not too late.
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fair enough -me, id bung it in the main thread as well. save it forever in prosperity and for lazy researchers!! ha ha
didnt know arnold had done that nor that they were mates.
that is an unusual friendship given we are talking 50s and 60s.
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Posted: |
Mar 24, 2014 - 10:28 AM
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By: |
leslie
(Member)
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In the movie, who's funeral is it?
I've been driving myself crazy for several days trying to match up the music from the LP and CDs to the movie, to find out what's what, what exactly the LP tracks are, what's on the LP that isn't on the CDs, and what music isn't represented on the LP or the CDs (and there's a lot!). I might as well add this Malcolm Arnold puzzle piece to my headaches.
Jim, I have to confess that, given your impressively selfless commitment to musicological research on this issue, I did feel a pang of guilt about adding a further challenge to your task. I first bought the British vinyl album of the score in the late 50s when I was a teenager and, despite the infuriatingly frustrating lack of track listings ( which I subsequently assumed was simply due to the fact that American UA received the session tapes without any title nomenclature ) I always thoroughly enjoyed the fullblooded colour and vitality of the score, particularly for its stunning use of the human voice - arguably anticipating Morricone's approach in at least one selection. ( Morricone, of course arranged the ' bolero ' version of the Main Theme for the albom of Barabbas )
Some years ago, I watched very closely a British tv transmission of the film and I simply could not identify anything that sounded like Malcolm Arnold but I am sure your close scrutiny will reveal anything I missed. Having said that all listings of Arnold's film work specifically include S and S in his catalogue, after Nascimbene of course. In addition, the key biography of Arnold by Anthony Meredith and Paul Harris clearly notes that Arnold provided ' some extra music ' - ' the Funeral music sequence only ' while, in the catalogue of his work, Arnold's contribution is listed as Funeral March. Guenther K's fascinating posting below adds to the complexity in terms of ' You Know What Sailors Are '; a listen to the 5 minute suite available on You Tube certainly confirms that the North African flavour of some of the thematic material could readily be adapted for a biblical epic. It is perhaps worth noting that ,around this time, Arnold was entering into a serious episode of ill health which led to his withdrawal from Suuddenly Last Summer ( apart from the Main Title ). Is it possible Arnold,s music for Sand S was in fact not used?
This look back has also reminded how generally frustrated I was at this time with the way in which UA as a label treated its soundtrack releases - often bafflingly so. One of the worst examples was 'The Wonderful Country' whose many idiosyncracies were well outlined in the excellent Varese 2 CD set - what the Varese album fails to point out is that the actual film End Title ( replaced on the album by a piece of music not heard in the film but nonetheless credited as End Title on the actual score ) was subsequently released on vinyl many years prior to the CD set since I have it on a UA Ascot album providing 4 tracks each from 4 UA albums - the same 4 tracks include another of the 4 'unissued' tracks captured by the Varese release, while one of the remaining two cuts had already emerged again many years previously as one of two soundtrack WC selections on the flip of UA's Misfits soundtrack vinyl album. Can you by any remote chance throw any light on thecorrect origins of the puzzling End Title from the original album?
In the meantime, good luck with your continuing Sand S endeavours
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