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| Telefon/Hide in Plain Sight (1977/1980) |
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| Music by Leonard Rosenman, Lalo Schifrin |
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| Click to enlarge images. |
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| Line: Silver Age |
| CD Release:
March 2011
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| Catalog #: Vol. 14, No. 4 |
| # of Discs: 1 |
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This Film Score Monthly release premieres two Silver Age scores for films which take very different approaches to their respective stories. Telefon is a taut cold war thriller which plays out on an international stage; Hide in Plain Sight is a moving personal drama which focuses on family. To some extent, these differences are reflected in the music for each film.
Telefon (1977) features Charles Bronson as a KGB agent charged with heading off an international crisis by finding and killing a rogue Stalinist who is activating sleeper agents planted in the United States during the 1950s. Lee Remick co-stars as his helpmate (actually a double agent). The brooding and atmospheric score by Lalo Schifrin contributes greatly to the film’s tension. Apart from a deceptively peaceful folk-like melody for the rogue Russian agent and a would-be “love theme” (not developed until the end credits), the score is essentially devoid of expansive melodies.
Schifrin’s music relies instead on carefully inflicted motives (à la Bernard Herrmann) and a vaguely Russian harmonic and melodic basis—reinforced by prominent use of a cimbalom in the orchestration—to provide atmosphere and a sense of menace where appropriate. The original multi-track recordings of Telefon do not survive, but FSM has created a convincing stereo image from a ½" three-track monaural mix preserved by the studio.
Hide in Plain Sight (1980) is based on the true story of a New Jersey factory worker whose children are whisked away by the Federal Witness Protection program when his ex-wife’s mobster husband turns state’s evidence against his former associates. James Caan—who also directed the film—plays Thomas Hacklin, a man who takes on powerful governmental forces in an attempt to find and re-unite with his kids.
Leonard Rosenman composed a relatively brief score for the film, of which Caan ultimately used only four cues (two of which are source music), retaining Rosenman’s soaring, lyrical theme for Hacklin’s relationship with his children (including the touching finale), while eliminating the more dramatic, suspense oriented material. This FSM CD reveals for the first time the much broader range of Rosenman’s effort since it includes all the music the composer recorded for the picture, newly remixed from ½” three-track stereo masters.
The accompanying 20-page booklet includes essays on both titles by film historian Scott Bettencourt, FSM’s customary track-by-track analyses, film stills and promotional materials. Longer, more detailed versions of Bettencourt's essays are available here, along with FSM's other free online notes. |
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| Leonard Rosenman Scores on FSM |
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| About the Composer |
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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 |
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| Lalo Schifrin Scores on FSM |
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| About the Composer |
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Lalo Schifrin (b. 1932) is an Argentinean-born composer, conductor, arranger and pianist who has made a major impact on film, TV, the concert hall and jazz stage. He parlayed an early career as a pianist and arranger for Dizzy Gillespie into a run as one of the hottest film and TV composers of the 1960s and '70s, with projects such as Mission: Impossible, Bullitt, Dirty Harry, Cool Hand Luke, Enter the Dragon and more. His more recent films include the popular Rush Hour series. He is beloved for his Latin jazz but is also an accomplished classical composer and conductor with ongoing recording, composing and performing projects.IMDB |
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| Track List |
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Click on track TIME for MP3 sound clip. Telefon Music Composed and Conducted by Lalo Schifrin - Main Title 3:07
- If That Is So 1:05
- Remember Nikulin 2:41
- Dalchimsky/Remember Sobolev/Winter in Moscow 3:08
- KGB Headquarters 1:35
- Memorizing Montage/Father Diller 1:46
- The Outer Leaf/Plotting in the Dark 0:52
- I Killed for You 1:23
- Remember Guriyeva/Detonating Device 7:20
- Phone Booth/A Question of Credibility 1:24
- Callender 2:10
- After the Explosion 0:44
- Lucky Girl 2:40
- Remember Melikyan 1:25
- The Woods Are Lovely/The Purse 1:54
- Ten More Miles/End Credits 2:15
- Cartoon Source 2:27
Total Time: 38:34 Hide in Plain Sight Music Composed and Conducted by Leonard Rosenman - Untouchables (TV Source) 1:01
- Flipper (TV Source) 1:15
- Let’s Go 1:47
- Followed on the Freeway 4:05
- Maz’s Car 0:57
- Tom Hides 1:31
- Finale 7:31
- Trailer 2:10
- Teaser 1:23
Total Time: 22:01 Total Disc Time: 60:43 |
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| Instruments/Musicians |
| Click on each musician name for more credits |
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For more specific musician lists for the scores on this album, go here: |
| Hide In Plain Sight |
| Telefon |
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Leader (Conductor):
Leonard Rosenman, Lalo Schifrin
Violin:
Murray Adler, Leonard Atkins, Israel Baker, Arnold Belnick, Doris Y. Carr, Norman Carr, Herman Clebanoff, Shirley A. Cornell, Glenn Dicterow, Bonnie J. Douglas (Shure), Assa Drori, Jack M. Gootkin, Michelle Grab, Debbie Sue Grossman, Vincent D. Houser, Lou Klass, Ezra Kliger, Murray Korda, Jacob Krachmalnick, Bernard Kundell, Mary Debra Lundquist, Gordon H. Marron, Irma W. Neumann, Stanley Plummer, Christopher Reutinger, Carol Rydall, Sheldon Sanov, Lisa Shulman, Paul C. Shure, Marshall Sosson, Spiro Stamos, Lya Stern
Viola:
Myer Bello, Pamela Goldsmith, Jan Hlinka, Louis Kievman, Mark Gabor Kovacs, Virginia Majewski, Robert Ostrowsky, David Schwartz, Milton Thomas
Cello:
Douglas L. Davis, Selene Depuy-Hurford, Christine Ermacoff, Armand Kaproff, Raphael "Ray" Kramer, Nino Rosso, Frederick R. Seykora, Peter Shulman, Gloria Strassner, Mary Louise Zeyen
Bass:
Raymond M. "Ray" Brown, Arni Egilsson, Milton Kestenbaum, Ed Meares, Buell Neidlinger
Woodwinds:
Dominick Fera, Susan G. Greenberg, Norman H. Herzberg, Ronald Langinger (aka Ronny Lang), Jack Marsh, John Neufeld, C. E. "Bud" Shank, David J. Shostac, Julian Spear, Sheridon W. Stokes, David E. Weiss
French Horn:
William Alsup, James A. Decker, David A. Duke, George W. Hyde, Arthur Maebe, Jr., Richard E. Perissi, Gale H. Robinson
Trumpet:
Chase E. Craig, Mario F. Guarneri, Malcolm Boyd McNab, Anthony "Tony" Terran, George Werth
Trombone:
Richard "Dick" Nash, Richard Noel, Herbert A. Rankin, George M. Roberts, Thomas Shepard, Phillip A. Teele
Keyboards:
Michael A. Lang, Lincoln Mayorga, Clark Spangler, David Wheatley
Guitar:
Robert F. Bain, John H. Bilezikjian, Stuart Brotman, Dennis Budimir, Joe DiBlasi, Daniel Ferguson, Vicente Gomez, Alton R. "Al" Hendrickson, Trefoni "Tony" Rizzi, Thomas "Tommy" Tedesco
Harp:
Catherine Gotthoffer (Johnk), Lou Ann Neill
Accordion:
Frank T. Messina, Stephen Paietta
Drums:
Joe Porcaro
Percussion:
Larry Bunker, Peter Limonick, Emil Radocchia (Richards), Tommy Vig, Kenneth E. Watson
Orchestrator:
Ralph Ferraro, Richard P. Hazard, Lalo Schifrin
Orchestra Manager:
Harry W. Lojewski
Supervising Copyist:
Harry W. Lojewski
Copyist:
Willard W. Jones, Harry W. Lojewski, Ray Mace, Donald J. Midgley
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