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Let’s look at what scores from Moross may be available for issue. There aren’t too many likely possibilities for new releases.
Close-Up (1948, Eagle-Lion Films) – This seems unlikely, since all music tracks from that budget studio seem to have vanished. Kritzerland was recently able to find Hugo Friedhofer’s score from Eagle-Lion’s “The Adventures of Casanova” from the same year. But that recording came from the composer’s own acetates, and I haven’t heard that the Moross estate contains any recordings. The Silva Screen Moross set has a 9-minute suite.
When I Grow Up (1951, Eagle-Lion Films) – Same situation as above, but no coverage on the Silva Screen set.
The Captive City (1953, United Artists) – Has anything from this early period survived from UA? There’s a 7-minute suite on Silva Screen.
Seven Wonders of the World (1956, Cinerama Corp.) – No one’s yet been able to crack the Cinerama Corp. vaults for any releases from the original tracks. All we’ve had are CD releases of various LPs. “Seven Wonders” had a 10-inch LP and a German 45 EP with about 15 minutes of music, but since up to four composers worked on the film, it’s unclear how much of Moross’ music is contained therein. A 5-minute cue is on Silva Screen.
The Sharkfighters (1956, United Artists) – This is still from the ‘lost” UA years. A combined 15 minutes appear on two different Silva Screen compilations.
Wagon Train (TV) (1957-65, Revue/Universal) – With the Varese release of the Hitchcock scores, maybe getting early TV music out of Universal isn’t as farfetched as it once seemed. Reportedly, Moross did scores for 12 episodes of the series. For now, there is only about 4 minutes of Moross’ music on the Mercury Records LP and the 3-minute theme on Silva Screen. If there are no surviving score elements, some producer should try releasing that LP, from Universal Music Group.
The Big Country (1958, United Artists) – Now we’re getting into the period where UA scores have survived, and indeed, we’ve got all of this one.
The Proud Rebel (1958, Samuel Goldwyn) – This received a decent sounding 56-minute release on LP and CD on the Screen Classics label (in which SAE’s Craig Spaulding was involved) and a 19-minute re-recording of some cues on Silva Screen. According to the liner notes, the Screen Classics CD was “mastered from a direct digital transfer of the original scoring session tapes recorded at the Samuel Goldwyn Studios sound facility, final monaural mix achieved on April 7, 1958.” That CD is long out of print. Since we’re not likely to see anything better come along, a re-issue would seem in order.
The Jayhawkers! (1959, Paramount) – I think we can still hold out hope for this one, given this year’s release of “Last Train From Gun Hill,” also from Paramount in 1959. For now, there is a 17-minute re-recording of cues on Silva Screen.
The Adventures of Huckleberry Finn (1960, MGM) – FSM released the complete score in 2003.
The Mountain Road (1960, Columbia) – Complete original tracks from Columbia films of this era are rare, but we’re starting to get some. Intrada has released “City of Fear” (1959) and “Raisin In the Sun/Requiem for a Heavyweight” (1961/1962). Nevertheless, this one is a long-shot. Six minutes appear on Silva Screen.
Five Finger Exercise (1962, Columbia) – See “The Mountain Road” above. Five minutes on Silva Screen.
The Cardinal (1963, Columbia) – Between the various CD issues of the 40-minute RCA LP, and the 23 minutes re-recorded on Silva Screen, this relatively short score is well-represented. The film itself seems to have fallen into the hands of Warner Bros. (the DVD appeared on that label), so perhaps that is where to look for original score elements.
The War Lord (1965, Universal) – The 30-minute Decca LP and Varese CD includes 5 minutes of Hans Salter’s music. I’m sure the labels have been looking for this one at Universal.
National Geographic Special – Grizzly (1967, David L. Wolper Prod.) – Intrada released Moross’ 30-minute score for this TV production in 2003.
Rachel, Rachel (1968, Warner Bros.) – No doubt FSM or one of the other labels would have located this at Warners if it existed. This was Paul Newman’s directorial debut, which he produced for his own company. Perhaps something exists in the Newman estate. Six minutes appear on a Silva Screen re-recording.
The Valley of Gwangi (1969, Warner Bros.) – As mentioned in a number of posts, the original tracks for this have gone missing. The film itself was produced in Spain. Where were the recording sessions conducted? The film was a production of Charles H. Schneer’s Morningside Productions. Coincidentally, Sheer’s next Morningside production, 1970’s “Land Raiders,” was also produced in Spain. The complete score for that film was found in Italy and was released this year by Digitmovies. Could “Gwangi” have been recorded in Italy as well, or was “Land Raiders” done there simply because composer Bruno Nicolai was Italian?
Hail, Hero (1969, National General) – This Cinema Center Films production is part of the CBS library, and any score materials should be in their archive. But nothing appeared in the on-line listing of CBS holdings to which Lukas linked us a while back.
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Also Bob, Moross scored the pilot episode and the main-title theme for the Western television series "Lancer" which ran in the late 60's. Moross' main-title for "Lancer" was used throughout the series run.
James
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Also Bob, Moross scored the pilot episode and the main-title theme for the Western television series "Lancer" which ran in the late 60's. Moross' main-title for "Lancer" was used throughout the series run.
James
The IMDB also lists Moross as scoring single episodes of "Gunsmoke" and "Have Gun - Will Travel" in 1961.
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Another addition - the original main title from The Jayhawkers, which appeared (uncredited) at the end of Kritzerland's release of Friedhofer's One-Eyed Jacks.
- James.
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"The Golden Apple" is one of my favorite pieces of musical-theatre ever written - and it's certainly one of the finest American sung-through scores out there. The album barely skims the surface of this deliriously wonderful score (leaving out such gems as Helen's opening number, and having the tacked-on ending added when the show went to Broadway), and severely abridging other numbers and segments. Still, if you love the Moross sound, definitely pick up a copy of the album - Kaye Ballard's performance is (like all of hers) just wonderful, as are the rest of the cast. The day I found a copy of the full score (printed music, not a recording) was a great day indeed, as I could fully delve into the treasures the show possesses.
Though it's very musically demanding, it really should be done more in stock companies and such - it can be done with a minimum of scenic and technical elements (apart from the balloon at the end of act one, and even that can be played with). It would be great to see more productions - it's high time Moross made his triumphant return to the stage.
Regarding his film scores, yes, I would happily pick any of them up, in original or re-recorded state. There's also that great Naxos album that has some of his ballet work: "Willie the Weeper," "Those Everlasting Blues," and "Frankie and Johnny." While there are some interpolations and arrangements of folk songs in "Frankie and Johnny," it's still pure Moross.
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