(I meant no disrespect. There wasn't enough space for Laurence.)
THE POWER AND THE GLORY Music Composed and Conducted by LAURENCE ROSENTHAL INTRADA ISC 438
Intrada announces the premiere release of an early work from composer Laurence Rosenthal, the 1961 film The Power and the Glory. Composed after A Raisin in the Sun and before The Miracle Worker, it may be an early score, but from a rich period for Rosenthal and one of his favorite scores. For the film's setting in Mexico, Rosenthal composed a score of appropriate flavor and atmosphere, capturing the essence of both the time period, the locale, and the struggle between religion and government. Rosenthal had a particular love for Mexican music, which is reflected in the rhythms and drama throughout this powerful score.
The film had a heavy hitting cast that included Lawrence Olivier, George C. Scott, Julie Harris and Patty Duke, produced by David Susskind, with whom Rosenthal worked on Rashomon and Requiem for a Heavyweight. It was based on the novel by Graham Greene, who also wrote The Comedians that Rosenthal would later score when the film adaptation was produced a few years later. In the film, Olivier plays a cynical Catholic priest sent to preach in Mexico at a time (1930s) when the government perceived the Church as competition. As a result the government launches a plot to assassinate him.
INTRADA ISC 438 Barcode: 720258543806 Retail Price: $19.99 SHIPPING NOW For track listing and sound samples, please visit the The Power and the Glory soundtrack page - http://store.intrada.com/s.nl/it.A/id.12103/.f
01. Prologue – The Revolt 2:09) 02. Puerto De Mexico (1:12) 03. Confession (2:31) 04. Banana Barn (3:48) 05. Transition (0:29) 06. Brigida (4:28) 07. End Of Mass (0:42) 08. Lieutenant’s Entrance (0:27) 09. The Priest Departs (3:20) 10. Mestizo (3:05) 11. All The Hope Of The World (2:42) 12. Prison (3:50) 13. Montage (5:37) 14. The Church (1:10) 15. Celebration (1:10) 16. The Trap (2:30) 17. The Hut (1:30) 18. The Power And The Glory (2:38) 19. The Refusal (1:22) 20. Prayer (0:43) 21. The Execution And End Title (4:04)
"Not exactly a motion picture." I was wondering about that, because my memory from 1961 was that it was a broadcast in the manner of "Playhouse 90" and so many other golden age TV stage dramas. Whether pre-taped or broadcast live and preserved on tape, I can't say, but apparently the video was subsequently shown theatrically in Europe, according to the lone reviewer on IMDB.
And yes, it's fabulous that a TV score of this vintage is being released, especially one by such a fine composer. I only wish this happened more frequently. There's a lot of gold buried in those studio vaults.
This is all detailed in the liner notes, but THE POWER AND THE GLORY was actually produced TWICE for television by Susskind. The first was a videotaped version of a stage adaptation, which had originated in England before migrating to the United States, and was part of his experimental "Play of the Week" concept. It was a resounding success, and this -- combined with his experience producing Laurence Olivier in the acclaimed TV movie THE MOON AND SIXPENCE -- prompted Susskind to mount a lavish feature-film production of THE POWER AND THE GLORY with a new script, to be broadcast over the air domestically and exhibited theatrically overseas. It was, in fact, the most expensive TV production ever mounted up to that point! Factor in the all-star cast, and it's a wonder it never hit home video; you must visit UCLA or the Paley Center if you wish to watch it.
And Larry's score is simply tremendous! Searing, romantic, tragic ... I must have listened to it more than a dozen times through while working on the set, and like most Laurence Rosenthal scores it gets better with each listen!
And yes, it's fabulous that a TV score of this vintage is being released, especially one by such a fine composer. I only wish this happened more frequently. There's a lot of gold buried in those studio vaults.
The announcement indicates this was his own tape, not from a studio vault, which they go into detail in the podcast. He was allowed a large orchestra which is why it doesn't sound like a TV score.
Posted: Jan 28, 2020 - 3:25 AM Report Abuse Reply to Post By: Last Child (Member)
"And yes, it's fabulous that a TV score of this vintage is being released, especially one by such a fine composer. I only wish this happened more frequently. There's a lot of gold buried in those studio vaults."
The announcement indicates this was his own tape, not from a studio vault, which they go into detail in the podcast. He was allowed a large orchestra which is why it doesn't sound like a TV score.
***
Thanks, Last Child. FWIW, I wasn't assuming this recording came from a vault, I only wanted to emphasize that there are a wealth of other worthy scores which ARE still locked up and going to waste in studio vaults -- such as, in fact, the vault which you use as your FSM icon. I would dearly love to unearth the wonderful ALCOA PREMIERE scores which first made me fall in love with the work of Johnny Williams.
Thanks, Last Child. FWIW, I wasn't assuming this recording came from a vault, I only wanted to emphasize that there are a wealth of other worthy scores which ARE still locked up and going to waste in studio vaults -- such as, in fact, the vault which you use as your FSM icon. I would dearly love to unearth the wonderful ALCOA PREMIERE scores which first made me fall in love with the work of Johnny Williams.
Preston, I'm sure we all agree with you about the wealth of material in studio vaults, libraries, private owners, and of course composers. I was only being factual. Ironic this is one of Rosenthal's favorite scores, yet it doesn't sound like he was striving to get it released. Reminds me of David Shire's tapes sitting in a box in a garden shed....from where one of my grails was rescued. Maybe Johnny has a shed somewhere.
As a matter of fact, I took it as a fact, and in the spirit with which it was offered. Hence, my Thanks. No hard feelings. (It's so difficult sometime to convey warm feelings in cold cyber print.)
As a matter of fact, I took it as a fact, and in the spirit with which it was offered. Hence, my Thanks. No hard feelings. (It's so difficult sometime to convey warm feelings in cold cyber print.)
Okay, now I gotta ask: which Shire grail?
Naw, I understood you. As for the music, it's for TVmovie thriller, "Isn't it Shocking?"(1973). I should have specified "unreleased" grail, only wanted by me and someone who commented on the movie on youtube. It wasn't a grail for Shire, maybe because it's from his pre-feature film scores (ergo, the garden shed). I posted a clip with just the synced music (which he generously shared). Probably not something the labels are interested in:
I've neither seen the film nor heard the score until checking out the samples today.
The opening cue is striking right off the bat. And the sound quality is such I certainly didn't think 1961! It's amazing the technological advances and the jobs the folks mastering do on these release.
I was only able to get to the sample of track nine (which is also interesting).
This was not the first film version of Graham Greene’s novel. THE FUGITIVE (1947) starring Henry Fonda, was directed by none other than John Ford. A fairly sanitized version of Greene’s more tormented character, it is nevertheless a powerful film, beautifully photographed, and reportedly one of Ford’s favorites.
I remember seeing ads when both of these Susskind specials were originally televised, but I didn’t watch either of them. I was 11 or 12 at the time. I remember the ads for Olivier in THE MOON AND SIXPENCE enough to make me want to see the excellent previous film version.
The Rosenthal score sounds intriguing enough for me to want it.
The preservation work done on this, from an old, near 60 years old tape, recorded at a slower speed, is MIRACULOUS! It sounds incredible, with beautiful details captured from the guitar and percussion passages especially. I've always enjoyed Rosenthal's film music when I've heard it (well, apart from Heart Like A Wheel, which just does nothing for me), and this has been a great purchase too. It deserves to be heard by many because a; the music is really top-notch dramatic film music and b; the efforts put into preserving this music in such a fine manner should be rewarded. Great stuff!
I have to agree with this. A spectacular, classic score that sounds superb - the kind of score that puts film music on a par with more formal, classical music.
"And Larry's score is simply tremendous! Searing, romantic, tragic ... I must have listened to it more than a dozen times through while working on the set, and like most Laurence Rosenthal scores it gets better with each listen" ---------------------------------------- Totally agree with the last bit here. I've played it once and right away, I can tell it's one of those scores that rewards repeated listens. The thematic material and motifs threaded throughout are great film music and trademark Rosenthal, in their development and style.
Can't wait to check out this one. Didn't see in the description where the score was recorded...New York, perhaps?
On an aside, Rosenthal's music for early 1970s episodic television (Mannix, The Rookies) was terrific. The best composers always give you something to listen to and Laurence Rosenthal is one of the best. His music for the mini series "Peter The Great" (for NBC, 1986) and "The Bourne Identity" (ABC, 1988) are, IMO, film score masterpieces...as good as dramatic scoring gets (his colleagues must have thought similarly...as he won Emmys for both).
As with Pat Williams, I'm so glad I had the opportunity in this life to tell Mr. Rosenthal, a humble and kind man, how much I loved his music and admired the craft employed in creating it, especially Clash of the Titans, Peter the Great and Becket (Bourne Identity, The Young Indiana Jones Chronicles not appearing until later).