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Mutiny on the Bounty (1962) |
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Music by Bronislau Kaper |
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Click to enlarge images. |
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Line: Silver Age |
CD Release:
October 2004
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Catalog #: Vol. 7, No. 16 |
# of Discs: 3 |
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Released by Special Arrangement with Turner Classic Movies Music
Because YOU demanded it!
(...and had no idea what you were getting into!)
Mutiny on the Bounty (1962) was a gargantuan roadshow production from the end of the Golden Age of Hollywood. The film's true-life story is known the world over: how First Officer Fletcher Christian led a revolt against the tyrannical Captain William Bligh on the H.M.S. Bounty in 1789. The story has been filmed multiple times—most famously by M-G-M in 1935, and more recently in 1984—and the 1962 production was M-G-M's attempt to recapture their earlier success, with Marlon Brando as Christian and Trevor Howard as Bligh.
The film made more news for its behind-the-scenes troubles than on-screen drama: Brando was famously difficult and the production went over-schedule and over-budget, along with Fox's Cleopatra nearly sinking the studio system. Although originally assigned to Miklos Rozsa the score was transferred to Bronislau Kaper, who had been at M-G-M so long that he had written the love song for the 1935 production. Mutiny would be Kaper's last work at the studio and a fitting musical triumph—one of the essential works of the "roadshow" era of the Golden Age, and a classic symphonic score.
The score features three main themes: the mammoth, seafaring music for the Bounty itself; aggressive, menacing material for the mutiny; and a South Seas-flavored love theme (with lyrics by Paul Francis Webster). Huge musical setpieces accompany the Bounty's setting sail and ocean voyages; the crew's frolicking with the native Tahitians; the pursuit of a band of deserters; and the ship's eventual destruction. The score is large-scale in every way, and previous releases have merely hinted as to its power and scope.
With so much music in the film, it was a given that this release would be a 2CD set. However, the film's post-production was so protracted that each and every cue was recorded two and sometimes three times—first in March 1962, then in June, and again in September and October. Fans have long known about the two different endings to the score which appeared on different editions of the LP—those are her—and so are each and every alternative orchestral cue, along with as much of the source music as would fit.
This release features three programs split over three CDs: Disc one and the beginning of disc two features the complete score as it is heard in the finished film. The remainder of disc two and beginning of disc three features a complete "alternative score" from the initial recording sessions—as it was intended from March 1962. The remainder of disc three features album versions, additional source music, and additional alternative orchestral cues. All told, it is four hours of music on three CDs, all in stereo and remastered from the original six-track 35mm film.
The release comes in a "clamshell" jewel box with the three CDs and booklet inside. Liner notes are by Jeff Bond and Lukas Kendall. Due to the size of the production, the price is $34.95—and worth every penny! |
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Instruments/Musicians |
Click on each musician name for more credits |
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Leader (Conductor): Robert Armbruster
Violin: Victor Arno, Leonard Atkins, Israel Baker, Rocco Barbieri, George Berres, Joachim Chassman, Samuel Cytron, Kurt Dieterle, Elliot Fisher, David Frisina, Joseph Gorner, Mort Herbert, Davida Jackson, Arnold T. Jurasky, Anatol Kaminsky, Louis Kaufman, Murray Kellner, Bernard Kundell, William Kurasch, Marvin Limonick, Dan Lube, Alfred Lustgarten, Joy Lyle (Sharp), Leonard Malarsky, Thomas C. Mancini, Emanuel Moss, Alexander Murray, Erno Neufeld, Irma W. Neumann, Irving Prager, Lou Raderman, Sally Raderman (aka Sarah Kreindler), Albert Saparoff, Sidney Sharp, Paul C. Shure, Felix Slatkin, Dorothy M. Wade (Sushel), Heimann Weinstine, Byron Williams, Hrach Yacoubian
Viola: Myer Bello, Alvin Dinkin, Cecil Figelski, Allan Harshman, Harry A. Hyams, Maxine Johnson, Mary Laporte, Virginia Majewski, Reuben Marcus, Robert Ostrowsky, Paul Robyn, Sanford Schonbach, Barbara A. Simons (Transue)
Cello: Alexander Borisoff, Joseph DiTullio, Justin DiTullio, Adolph Frezin, Ossip Giskin, Raymond J. Kelley, Raphael "Ray" Kramer, Lucien Laporte, Irving Lipschultz, Michel Penha, W. Przybyla, Kurt Reher, Eleanor Slatkin
Bass: George F. Boujie, Mario Camposano, Peter A. Mercurio, Keith "Red" Mitchell, Meyer (Mike) Rubin, Arthur Shapiro
Flute: Luella Howard, Martin Ruderman, Sylvia Ruderman
Oboe: Norman Benno, Arnold Koblentz, William Kosinski
Clarinet: Gus Bivona, Ronald Langinger (aka Ronny Lang), Don Lodice (Logiudice), Hugo Raimondi
Bassoon: Charles A. Gould, Jack Marsh, Robert Swanson
French Horn: John W. "Jack" Cave, Vincent N. DeRosa, Vincent DeRubertis, Arthur Frantz, William A. Hinshaw, Herman Lebow, Sinclair Lott, Arthur Maebe, Jr., Richard E. Perissi, George F. Price, Harry Schmidt
Trumpet: John Audino, Frank Beach, Irving R. Bush, John Clyman, Robert Divall, Leonard Mach, Uan Rasey, George Werth, James C. Zito
Trombone: Edward Kusby, Randall Miller, Richard Noel, Tommy Pederson, Herb Taylor, Bill Williams (aka George Davenport)
Tuba: D'Artagnan Liagre
Piano: Ignace Hillsberg, Artie Kane
Guitar: Laurindo Almeida, Allen Reuss
Harp: Catherine Gotthoffer (Johnk)
Accordion: Carl Fortina
Drums: Dale L. Anderson, John T. Boudreau, Larry Bunker, Frank L. Carlson, Richard Cornell, Lou Erickson, Frank "Hico" Guerrero, Ralph Hansell, Preston Lodwick, Sheldon "Shelly" Manne, Mel Pedesky, Harold L. "Hal" Rees, D. V. Seber
Orchestrator: Leo Arnaud, Robert Franklyn
Orchestra Manager: James C. Whelan
Copyist: Gene Bren, John C. Caper, Jr., Wolfgang Fraenkel, Robert Franklyn, Maurice Gerson, Donald J. Midgley, Richard Petrie, Fred Sternberg, Harry Taylor, Bill Williams (aka George Davenport)
Librarian: Jules Megeff
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