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Stefan just quoted Hugo Friedhofer saying he wrote it -- it was apparently just repurposed from another pre-existing piece he wrote, and used as a sort of overture for the film in certain showings I guess. (So I guess maybe like the curtain music for The Ten Commandments, it doesn't connect thematically with the rest of the score?)
By the way, the Linda Danly Hugo Friedhofer book is really an excellent read; I highly recommend it.
Yavar
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Stefan just quoted Hugo Friedhofer saying he wrote it -- it was apparently just repurposed from another pre-existing piece he wrote, and used as a sort of overture for the film in certain showings I guess. (So I guess maybe like the curtain music for The Ten Commandments, it doesn't connect thematically with the rest of the score?)
The JOAN OF ARC film had at first a running time of 145 minutes, but for general release in 1950 45 minutes were cut and certainly also this prologue music.
There is some kind of thematical connection between the Prelude and the rest of the score - above all in that upwards striving melodic line which is such a typical Friedhofer theme and which appears both in the score and in the Prelude.
So it seems that this original two-piano piece was a general source of inspiration for Friedhofer when he composed the music for the movie in 1948. His first daughter Erica - for whom he probably had composed that piece - was born in 1923 - so I suppose that she studied at UCLA at some time during the mid-40s - maybe just a few years before Friedhofer composed the JOAN OF ARC score.
It is also interesting to note that the score itself was mainly orchestrated by Jerome Moross and a few pieces even by the German-born Paul Dessau. Only this Prelude was orchestrated by Harold Byrns.
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Yes thanks Stefan -- fascinating stuff! Would love to get an album with all of this some day.
Yavar
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This is major news. All four scores are in demand by fans of the composers.
If they are all released, I'll buy three of them.
Of those three, Sinful Davy is the most unknown. The other scores can he heard in the films, suites on youtube, and Mancini recorded his A Shot in the Dark" theme. But being a rejected score with lost tapes, Sinful Davy has not been heard. Barry said Huston wanted a contemporary score for this period film and he obliged. Plus, this was from a prime Barry era (68-69) that also gave us The Lion in Winter, Petulia, Deadfall, Midnight Cowboy, and On Her Majesty's Secret Service, so expectations are high.
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