Film Music Editor: Ian Lace
Music Webmaster Len Mullenger

FILM MUSIC RECORDINGS REVIEWS


 

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EDITOR’S RECOMMENDATION – October 1999

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Bernard HERRMANN Citizen Kane . Original Score played by the Australian Philharmonic Orchestra conducted by Tony Bremner   PREAMBLE PRCD 1788 [43:21]

 

Crotchet
Yalplay



Any comment on this celebrated film is superfluous and this almost applies to Bernard Herrmann's equally much-praised music. Tony Bremner conducts his Australian ensemble in a powerfully dramatic recreation of this, Hermann's first film score. The production is lavish with a booklet that includes musical examples, stills from the film plus a picture of the youthful Herrmann and Welles together. There are very full music analytical notes, including details of Herrmann's use of the Rosebud, Mother ambition/power and other leitmotifs , by Tony Bremner, and a fascinating essay 'Score for a Film' by Bernard Herrmann written for the New York Times in 1941 in which the composer recalls his work on the score. Herrmann reveals that he was given much more time than was the norm in those days to create his score and that he was also given the freedom to orchestrate and conduct the music, (again this was very much against the norm). He also tells how, against prevailing custom, he worked on the film, reel by reel as it was being shot and cut and furthermore, many sequences were tailored to match his music - particularly the numerous montages. In this way Herrmann's music became something of a 'leading actor.'

In another interesting essay, producer John Lasher emphasises that this recording is not only the complete score using the original instrumentation that Herrmann used, but it also includes several cues composed but not retained in the final print of the film.

I will not bore readers with track-by-track comment but would single out some of the most impressive parts of the score: the brooding opening statement of the Xanadu motif on trombones and its repeats on bass clarinets followed by the Rosebud theme stated on bassoons as we progress through the mist-shrouded estate to the great gothic house where Kane lies dying. Then there are the montages full of wry ironic wit: the pompous and swaggering montage as the Chronicle builds in poularity (before it crashes in the Depression) and the Breakfast Montage as the love between Kane nad his first wife sours. And, of course, the brilliant mock-opera aria 'Salaambô' composed so expertly in the Late Romantic Franco-Oriental style. Following Kiri Te Kanawa's example in the Charles Gerhardt recording of highlights of the score, Rosemary Illing sings the aria as it should have been projected in the opera house.

This album is an absolute must-have for Herrmann admirers.

Reviewer

Ian Lace

Reviewer

Ian Lace

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