Dimitri TIOMKIN The Western
Film Music of Dimitri
Tiomkin Laurie Johnson conducting the London Studio Symphony Orchestra and
John McCarthy
Singers
Unicorn-Kanchana UKCD2011 [46:15]
This is an earnest effort at recording, and thus preserving,
a handful of works by Tiomkin who was for many years Hollywood's foremost
Western film composer. The excerpts included are, in some cases judicious
and valuable (High Noon, Night Passage, Red River) and in others
somewhat questionable (Duel in the Sun, Giant) as I will explain
later.
My personal favorite among these is Red River, represented
here by five cues, each well (if simply) conceived by Tiomkin and quite well
realized here by Laurie Johnson and something called the London Studio Symphony
Orchestra along with the John McCarthy Singers. The score opens with a powerful
horn statement, raising the curtain on director Howard Hawks' massive saga
of a Texas cattle drive. The main title is based primarily on a simple tune
`Settle Down' (credited in the film to Tiomkin with no mention of a lyricist)
which has the comfortable feel of a standard cowboy ditty. Tiomkin uses this
theme effectively but somewhat sparingly throughout the movie, relying more
heavily on the cattle theme, a robust melody for horns and brass that accompanies
the `Red River Crossing' cue and numerous other scenes involving the giant
herd of Texas steers. The music implies both muscle and motion, and marks
a more mature Western voice than previously displayed by Tiomkin.
The Red River portion concludes with `The Challenge,' in which Tiomkin's
trademark strident chords become a march-like rhythm matching what, for me,
is a signature scene in Western films: John Wayne striding relentlessly through
the herd of meandering steers, intent on a deadly showdown with Montgomery
Clift.
Speaking of showdowns, none is more famous in Western film
lore than the one Gary Cooper awaits in High Noon. For this film,
Tiomkin broke all the conventions: his main titles open quietly, a single
strummed guitar, followed by a ballad that continues throughout the film,
telling the story in a laconic, fateful voice (supplied by Tex Ritter in
the film, baritone Bob Saker here. There are several versions of how High
Noon was elevated from a grade-B oater to a classic drama. In one, director
Fred Zinnemann dropped the project as soon as filming was completed, and
editor Elmo Williams stepped in to restructure the film in actual time, thus
creating the tension that made it a hit. Tiomkin's ballad-based score completed
the package. The second version is told by Tiomkin: The film was previewed
in a suburb east of Los Angeles to disastrous results, leading the studio
to yank it from release. But then Tiomkin released the ballad as a single
(with Frankie Lane replacing Ritter, because a different recording company
was involved) and the song became an immediate hit, thus resurrecting the
film's commercial viability.
Whatever the case, High Noon remains a remarkable
achievement today in no small part due to its score, the highlights of which
are the cues `The Clock' and `Showdown.' In the first, Tiomkin's strings
throb to the swinging of the clock pendulum as it nears high noon, while
against this ostinato is played one element of the ballad theme, that which
previously carried the lyric "Oh, to be torn `twixt love and duty."
For `Showdown,' Tiomkin displays this entire theme in various
full and partial forms, bending it every which way to complement the dramatic
action. This is film scoring of the first order and it justifiably received
the Academy Award in 1952 (one of only three Oscar nominations Tiomkin received
for his Western scores). Johnson's handling also is first-rate -- no small
achievement as noted elsewhere in my review of Tiomkin's Fall of the Roman
Empire.
I also liked the main-title version of `Follow the River,'
the song Tiomkin and High-Noon lyricist Ned Washington wrote for Night
Passage in 1957. The theme is soft and flowing and well-performed by
the John McCarthy Singers.
I'm much less interested in Duel in the Sun, although
this 1945 David O. Selznick production is a landmark for Tiomkin if only
because it's his first Western score. (Officially, The Westerner in 1940
was his first, but Alfred Newman reportedly was brought in to rewrite most
of that music.) And there is at least one great story told of a confrontation
between Tiomkin and the ever-meddling Selznick who, the story goes, interrupted
a scoring session to complain about Tiomkin's love theme. "That's not how
I make love," Selznick declared. "Look, Selznick," screamed the exasperated
Tiomkin, `this is how I make love!"
Author Tony Thomas has noted that Selznick listed four specific
emotions he wanted in the score: jealousy, flirtation, sentiment and orgiastic.
To Tiomkin's credit, much of this can be heard in the `Love-Death' cue contained
on this recording, which follows the `Trek to the Sun,' an impressionistic
bit of writing that utilizes a wordless male chorus to help depict the arid
desert. The score then literally rages through a gamut of emotion, as the
lovers (Gregory Peck and Jennifer Jones) shoot each other and then die in
each other's arms. No wonder Duel in the Sun was dubbed by critics
"Lust in the Dust."
My reservations about the inclusion of Giant in this
recording stem not from the score or this particular performance of the
`Prelude,' both of which are fine -- it's vigorous, broad-shouldered music
that speaks directly to what Texas is: big, broad and powerful. But why include
music from a score that's readily available already (particularly on LP,
as Giant was back in 1981, when this recording initially was made.) The real
value of this recording is that it offers music not recorded elsewhere. Rather
than Giant, why not The Sundowners, Last Train from Gun
Hill, or even The War Wagon, Tiomkin's final Western score?
"The Western Film World of Dimitri Tiomkin" concludes with
three cues from Rio Bravo, a 1959 re-teaming of Hawks and Wayne
which has attained cult status for the well-developed relationships of its
many characters. (Incidentally, both Hawks and Wayne intended the film as
an answer to High Noon, which both detested, but that's another story.)
Tiomkin's music is pleasantly laconic as befits the story, and the cue `De
Guella' is interesting in part because he used it just a year later, albeit
more dramatically, to open The Alamo. It's used largely as source music,
as I recall, in Rio Bravo, although Johnson's setting with guitars is nicely
done.
Overall, I'm quite impressed with what Johnson has achieved
here. This isn't the best re-recording of Tiomkin's works available - that
distinction rests with Elmer Bernstein, whose FilmMusic Collection recordings
of Land of the Pharoahs and Gunfight at O.K. Corral and
The High and Mighty are unsurpassed. Charles Gerhardt's recording
for the
RCA Classic series is nearly as good. But Johnson has captured much of the
feel, the tempo and the rhythm that make Tiomkin so unique.
Reviewer
John Huether
Ian Lace is more enthusiastic:-
In general, I share John Huether's opinion about this album
but I must declare my admiration for it. It is certainly one of the jewels
of my entire record collection. I have lost count of the number of times
I have played it, captivated by the sheer exuberance of the Red River
music; the drama and bite of this High Noon; and the warm sentimentality
of `Follow the River' from Night Passage. Then there is the stunning
trumpet and guitar and marimba playing of the De Guella from Rio Bravo.
I cannot agree with John about Tiomkin's music for Duel in the Sun. I
always remember the wonderful thrilling music that underscores the very imposing
gathering of Lionel Barrymore's vast following in response to his summons
to challenge of the encroaching railroad. This is one of the most spectacular
scenes in western `filmography' and Tiomkin responds triumphantly. There
is a hint of this music in this suite's Prelude.
Yes, I'm prejudiced. I just have to give this marvellous
album
Reviewer
Ian Lace