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EDITOR’s RECOMMENDATION October 2000
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Collection
The Film Music of Malcolm ARNOLD Vol
2
Suite from Trapeze; Overture:
The Roots of Heaven; Symphonic Study Machines for brass,
percussion and strings; Suite: No Love for Johnny*; Suite:
David Copperfield†; Scherzetto for clarinet and
orchestra: You Know What Sailors Are; Ballad for piano and
orchestra: Stolen Face*; Comedy Suite (Exploits for Orchestra)
from The Belles of St Trinian's†; Fantasy on Christmas
Carols: The Holly and the Ivy; Postcard from the Med.:
The Captain's Paradise*. * premiere recording † premier
recording in this version.
John Bradbury (clarinet); Philip Dyson (piano)
BBC Philharmonic conducted
by Rumon Gamba
CHANDOS CHAN 9851
[78:55]
It's been a long time coming, this second volume of Film Music by Sir Malcolm
Arnold, (Volume 1, that included: The Bridge on the River
Kwai, Whistle Down the Wind, and Hobson's
Choice, was released back in 1992), but this latest collection proves
that Arnold was indeed a potent composer in the genre.
The album begins with a suite from Trapeze reconstructed,
arranged and orchestrated by Philip Lane and here I should pause to pay tribute
to the fine work of Lane which has enabled the recording so many of the tracks
on this album. Circus drama, Trapeze (1956) starred Burt Lancaster, Tony
Curtis and Gina Lollobrigida. The Main Titles music sums up all the dangerous
excitement of the high wire with a broad romantic spirit (and some wit) that
reminds one of Steiner. 'Romance' is a slinky, close-up dance which very
well captures the mood of the 1940s/50s. Bullish circus 'Fanfares' are followed
by the amusing lumbering gait of 'Elephant Waltz' while 'Mike and Lola' is
a dreamy romantic interlude. 'Tino's Arrival in Paris' swaggers along with
accordion and rhythmic sticks and the suite draws to a conclusion in the
darker, dramatic Finale.
The Roots of Heaven (1958) was about elephant poaching in
Africa. It starred Trevor Howard and Errol Flynn, and it inspired a bombastic
and colourful score from Arnold with some vivid evocations of elephant
trumpetings plus a little wild jazz and a lovely romantic waltz. Rumon Gamba
gives it a lusty reading.
Arnold's music for the 1951 documentary Report on Steel
was turned into Symphonic Study Machines. It is an energetic
and frantically paced score that pungently captures the sounds of heavy machinery
and the dark smoky atmosphere of the machine shops.
No Love for Johnny (1960) had Peter Finch seduced away from
his duties as an MP by an illicit romance. Philip Lane's reconstruction begins
with a swaggering jubilant march for Johnny's campaign trail that is not
without wit in that one senses false promises. The Moderato movement is for
the romance but the dreamy stuff is juxtapositioned with ominous timpani
rolls suggesting Johnny's career falling apart when he fails to turn up at
the House of Commons.
Another lovely bitter-sweet score (again arranged by Lane), reminding one
of the golden age of Hollywood, came for the 1969 version of David
Copperfield that starred Ralph Richardson, Lawrence Olivier and
Michael Redgrave. It was to be Arnold's last score. 'The Micawbers' is a
lively, witty little scherzo that has the quirky fussiness and gait of a
pecking hen. 'Young Lovers' develops into a lovely waltz that glides and
glitters seductively.
The Scherzetto for clarinet and orchestra from You Know What Sailors
Are is a 2½ minute piece of breezy, cheeky slapstick. It was
arranged by the late Christopher Palmer. Ballad for Piano and Orchestra from
Stolen Face (1952) is a true find. Written very much in
the style of the cinema pianoconcertos of the period, the excesses of its
Late Romanticism are checked by more sinister material in keeping with the
plot development of this early Hammer Horror about a plastic surgeon (Paul
Henreid) who recreates the face of his lost love (a concert pianist of course)
onto an ex-convict (Lizabeth Scott in a dual role).
But the stand-out track has to be Arnold's brilliantly anarchic and hilarious
music for The Belles of St Trinian's (1954) starring the
inimitable Alistair Sim and George Cole. Arnold wickedly contrasts the sedate
'tea and crumpet' world of Miss Fritton with the 'ave a banana' crudeness
of her criminal brother Clarence and spiv Flash Harry in very witty music
slyly orchestrated. Gamba and the BBC Philharmonic have great fun with this
one. The music was arranged by Christopher Palmer and edited by Philip Lane
The Holy and the Ivy (1952) is really a collection of Christmas
Carols with the distinctive Arnold touch arranged by Christopher Palmer.
Finally The Captain's Table (1953) has a jaunty tune for
the captain (Alec Guinness) and an infectious dance number for the Captain
and one of his two wives (Yvonne DeCarlo). Another piece of splendid
reconstruction arrangement and orchestration by Lane.
A nicely balanced programme of some fine British film music played with energy
and verve.
Ian Lace
Gary S. Dalkin agrees:-
When Ian Lace sent me the copy of his review above he suggested that I do
something different. Which, other than appending one of my school essays
about dinosaurs, presents something of a challenge. I could try and find
a different way of saying everything Ian has already said, but what would
be the point? Ian has covered every aspect of the album in very thorough
detail and for me to add anything would not only be superfluous, but a waste
of your reading time. Suffice to say I agree with everything Ian says in
his review; this is a tremendous album, full of fine music and sufficiently
diverse to always maintain interest. And just look at the running time! Not
only is it longer than some feature films, but easily offers more music than
many a double LP from the so-called 'good old days'. Let us just hope we
don't have to wait another eight years for the next exciting episode.
Gary S. Dalkin
