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A Man Called Horse (1970)
Music by Leonard Rosenman
A Man Called Horse A Man Called Horse
Click to enlarge images.
Price: $14.96
Limited #: 2000
View CD Page at SAE Store
Line: Silver Age
CD Release: December 2010
Catalog #: Vol. 13, No. 19
# of Discs: 1

Film Score Monthly presents another extraordinary, groundbreaking score by film music pioneer Leonard Rosenman. Elliot Silverstein’s A Man Called Horse (1970) chronicled the progress of a “civilized” Westerner finding purpose among a “primitive” culture. The film starred Richard Harris (Man in the Wilderness) as John Morgan, an English lord captured, tortured and humiliated by Native Americans from the Sioux tribe in 1825. Morgan eventually earns the respect of the tribal chief and even undergoes the brutal Sun Vow ceremony to become a Sioux warrior.

With unprecedented cooperation between the production and members of the Rosebud Sioux Reservation, producer Sandy Howard tried to give the film an authentic cultural presentation (although the lack of Native American records prior to 1870 made it a challenging task). A corresponding attempt at authenticity was made in the film’s musical score.
 
Leonard Rosenman’s music for A Man Called Horse is a remarkable achievement, written in the composer’s distinctive modernist voice. Throughout the score, Rosenman employs Sioux chanting and quasi-Native American instrumentation (percussion, recorders and flutes) for a far more authentic sound than typically heard in Hollywood westerns. In 1970, bowdlerized “Indian” clichés were all that most audiences had heard in Hollywood productions; in this context, Rosenman’s score is a breath of fresh air, representing a sincere attempt to do justice to Sioux culture. He uses the orchestra to drive and shape the Native American-flavored vocals and percussion in a way that had virtually no antecedent in mainstream American films.
 
Music from A Man Called Horse was originally issued on a Columbia Records LP, featuring six long underscore suites arranged, not in film order, but for home listening. This premiere CD release of the complete score includes the entire LP sequence in stereo (from the original album masters) plus bonus tracks of previously unreleased Rosenman cues—some transferred from 1” 8-track masters and the rest taken from monaural masters archived at UCLA (home of the CBS music archives). The CD also features a number of percussion and ambient Sioux source cues recorded by both Sioux performers and Hollywood musicians.
 
The booklet includes detailed notes on the film and its music by Jeff Bond and Lukas Kendall, film stills selected by designer Joe Sikoryak, and the original LP liner notes.
Leonard Rosenman Scores on FSM
About the Composer

Leonard Rosenman (1924-2008) was an accomplished 20th century American composer with a major career in film and television. He was an up-and-coming New York concert composer when his friendship with James Dean lead to his groundbreaking 1955 scores for East of Eden and Rebel Without a Cause; his score for The Cobweb that same year is acknowledged as the first to be based on twelve-tone music. His other film projects include Fantastic Voyage, the 1978 Lord of the Rings, Cross Creek and Star Trek IV; his television work includes Combat, Marcus Welby, M.D. and Sybil. Rosenman made no apologies for his modernist style and was outspoken about using his film projects as testing grounds for concert works. IMDB

Comments (21):Log in or register to post your own comments
Leonard Rosenman’s Complete A MAN CALLED HORSE!

Film Score Monthly proudly presents this 2000 edition 1970 score release.

http://www.screenarchives.com/title_detail.cfm/ID/14637/A-MAN-CALLED-HORSE/

I've not seen the film. Musically, does this sound anything like Rosenthal's RETURN OF A MAN CALLED HORSE?



I guess from the cover you could say he is "hung like a Horse."

James

EXCELLENT RELEASE!!!!!!!! Thanks Lukas!
Good choice foR the cover too!

I'll pass after listening to the clips... will order POLTERGEIST next week after seeing what Intrada gives us.

I've not seen the film. Musically, does this sound anything like Rosenthal's RETURN OF A MAN CALLED HORSE?[/endquote]

Not much at all.

Rosenthal took a VERY romantic approach to the music, with only occasional uses of Native American sounds.

Rosenman was very non-tonal in a good bit of it, with significant uses of Native American instruments and chant (at least as I recall the album now).

Fans of Rosenman will probably like this for how he took his non-romantic style even further into his film music.

Ordered along with POLTERGEIST...Thanks, guys

I'll pass after listening to the clips... will order POLTERGEIST next week after seeing what Intrada gives us.[/endquote]


Oh, OK

I'm not usually into Rosenman's music, but the sound samples on this were so compelling that I decided to take a chance and ordered a copy along with North Dallas Forty and that two disc set of a virtually unknown score by an even lesser-known composer.

This score was a complete shock to listen to when released as LP.
Music was so primeval and strange, yet with time loved it.
Think Rosenman tried to make us feel the strangeness of not belonging to the American Indian culture and at same time trying to respect the Sioux traditional music.
A superlative accomplishment IMHO.
Very happy to see this reissued by FSM.
Thanks

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Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Leonard Rosenman

Viola:
Edwin Beach, Myer Bello, Dorothy Colton-Pratt, Rollice Dale, Joseph DiFiore, Alvin Dinkin, Phillip Goldberg, Allan Harshman, Virginia Majewski, Dan Lionel Neufeld, Milton Thomas, Gerald A. White

Cello:
Margaret Aue-Van Wyck, Justin DiTullio, Jesse Ehrlich, Raphael "Ray" Kramer, Edgar Lustgarten, Nino Rosso, Emmet Sargeant, Frederick R. Seykora, Gloria Strassner

Bass:
Richard F. Kelley, Sr., Milton Kestenbaum, Abraham Luboff, Meyer (Mike) Rubin, Kenneth Winstead

Flute:
Louise M. DiTullio (Dissman), Arthur Gleghorn, Arthur Hoberman, Sheridon W. Stokes

Recorder:
Robert Clements, Gary Foster, Shirley Marcus, Gloria Ramsey

Oboe:
Arnold Koblentz

Clarinet:
Dominick Fera, Gary G. Gray, John Lowe, Hugo Raimondi

Bassoon:
Don Christlieb, Norman H. Herzberg

French Horn:
Vincent N. DeRosa, William A. Hinshaw, Arthur Maebe, Jr., Richard E. Perissi, George F. Price

Trumpet:
Gino Bozzacco, Robert Divall, Sidney Lazar, Donald Robert Stoltz

Trombone:
Richard "Dick" Nash, Richard Noel, Barrett O'Hara, Thomas Shepard

Piano:
Neal Brostoff, Ralph E. Grierson

Moog:
Paul Beaver

Guitar:
Trefoni "Tony" Rizzi

Harp:
Dorothy S. Remsen

Drums:
Hubert "Hugh" Anderson

Percussion:
Frank L. Carlson, Ralph Collier, Charles DeLancey, Frank J. Flynn, Walter Goodwin, Norman Jeffries (Szukala), William Kraft, Mitchell T. Peters, Jeffrey Porcaro, Louis Singer, Wallace Carl Snow

Arranger:
Ralph Ferraro

Orchestra Manager:
Herman Berardinelli, Martin L. Klein

Copyist:
William Mitchell Byers, Robert Craft, Howard W. Drew, Virgil P. Evans, Ralph Fera, Janet Guy, Jerrold E. Immel, Richard Ladanski, Bernie K. Lewis, Robert L. Manrique, Edward E. Ocnoff, Edgar Roemheld, Jr., Bob Sisco

© 2014 Film Score Monthly. All Rights Reserved.