LIST OF WORKS BY PHILIP SAINTON
ORCHESTRAL
Balaton *
Fiesta *
Mechanical Energy
Stonehenge *
Caricature
Carnival
Serenade Fantastique
The Island (tone poem)
Nadir (tone poem)
Dream of a Marionette - ballet
The Clipper
[Note: the works marked with ‘*’ may well be orchestrations of
works by J.S. Gerber)
SONG
He Was My King
Leaves, Shadows and Dreams
Night in Spring
Wind Bell
Shieling Song
Jonah’s Hymn (from Moby Dick)
FILM MUSIC
Moby Dick
DISCOGRAPHY
The Island Tone Poem for Orchestra
Philharmonia conducted by Matthias Bamert
Chandos CD CHAN9181
(coupled with Patrick Hadley’s The Trees So High)
Nadir Tone Poem for Orchestra
Philharmonia conducted by Matthias Bamert
Chandos CD CHAN9539
(coupled with works by Sainton and Patrick Hadley)
The Dream of the Marionette for Orchestra
Philharmonia conducted by Matthias Bamert
Chandos CD CHAN9539
(coupled with works by Sainton and Patrick Hadley)
‘WORKS BY J.S. GERBER (1902-1979) orchestrated by PHILIP SAINTON’
Balaton Rhapsody
Fiesta
Prelude - Stonehenge
The Sea
Claremont SO conducted by Charles Vandezand
Prestige Records Limited
CD PRCDSP 100
South African CD.
There is also the long-deleted recording of a few excerpts from the score
of Moby Dick RCA LPM1247C
Impending (possibly November 1998) is the CD recording of the full score
of Moby Dick. This will be on Marco Polo 8.225050. BUT NO ORDERS SHOULD
BE PLACED UNTIL RELEASE IS PUBLICLY ANNOUNCED.
There is also at least one video version of the John Huston film Moby Dick
with Sainton’s music. This is on LUM 2107 in the UK and is believed
currently to be unavailable.
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JOHN MORGAN SPEAKS ABOUT THE MOBY DICK RECORDING
PROJECT:
Shortly after recording the complete House of Frankenstein score for
Marco Polo, Bill Whitaker and I were throwing around film titles for possible
future recordings and Bill brought up Philip Sainton’s score for John
Huston’s version of Moby Dick. I wanted to do a complete
recording of CURSE (NIGHT) OF THE DEMON by Clifton Parker. I was very
familiar with Moby Dick; having seen the film many times and having
the old RCA soundtrack album which was issued at the time of the film’s
release.
Knowing full well that this was one of the finest scores to come from England
during the fifties, and also knowing that the soundtrack album had very poor
mono sound with lots of artificial reverberation added, I agreed with Bill
that the time was right to attempt a rerecording of this score with modern
stereo sound. My enthusiasm was somewhat dampened by the fact that so few
British scores survive in written form, and also knowing that piano/conductor
books, prevalent in American-studio films, were very rarely used in Britain.
This meant that if the full scores or/and orchestral parts couldn’t
be found, a complete, authentic reconstruction would not be possible.
Bill’s enthusiasm led him to Barbara Clark, Philip Sainton’s daughter,
who not only had the full scores, but was very enthusiastic about a new recording
of this tremendous film score. Since we had only recorded American film scores
up to this time, I conferred with conductor William Stromberg on his feelings
and he shared our excitement regarding the project. With the blessing of
Klaus Heymann and Anthony Anderson, our bosses at Marco Polo, we started
the restoration process.
Barbara Xeroxed the music and sent it to us. The restoration of the score
was quite difficult as the original score was marked up with music and sound
editing/mixing notes for the final dub of sound effects, dialogue and music.
Since photocopying was not widespread at that time, the original score was
marked on, obliterating notes on the page. There were pages missing here
and there, which conductor Bill Stromberg and myself reconstructed. It took
several months to get the music ready so new instrumental parts could be
made. The score was also filled with errors, which we tried to correct. Since
we didn't have the original parts, we had to go through everything line by
line. Since there was music that was cut, we decided to record it substantially
the way Sainton originally conceived it and not try to conform it to the
film's music track. It quickly became apparent that the written music contained
a great deal more music than ended up in the final film as released. Wanting
this to be a definitive recording of the score, we elected to record the
music as Philip Sainton conceived it without making the arbitrary cuts because
of last minute editing of the film itself.
Making this restoration difficult was the fact that several score pages were
missing. For these, we listened to the film’s soundtrack and reconstructed
these vital bars. Furthermore, since the original orchestral parts didn’t
survive, we had to have all new parts for the orchestra prepared from the
score. Normally this would not be a problem, but the music had so many changes
(deletions, additions) hastily written in, we had to proof read and annotate
a great deal of the score. On top of this, the score was obviously used as
reference for the music dubbing after the music was recorded with written
notations, timings, etc. obliterating portions of the score. (Unfortunately,
we didn’t have the luxury of phoning the composer to ask him what he
meant by his cryptic shorthand symbols!) After a few months of detailed work
on the score, we were able to send it off to Moscow to have the instrumental
parts prepared.
The orchestra is a modest one - especially by Hollywood standards -and includes
three flutes (one doubling piccolo and alto flute), two oboes (one doubling
english horn), two clarinets in A and Bb (one doubling bass clarinet), two
bassoons (one doubling contra bassoon), four horns in F, three trumpets in
C, three trombones and tuba. The percussion includes two sets of chromatic
timpani, bass drum, various cymbals, snare drums, triangle, gong, tambourine,
and vibraphone. Also included is one keyboard player (piano, celeste and
organ), small choir and strings.
I want to thank the good people at Marco Polo, Bill Whitaker, Bill Stromberg
and Barbara and Terry Clark for their enthusiasm and inestimable contributions
in making this recording possible.
© John Morgan
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BILL WHITAKER ON PHILIP SAINTON’s MOBY DICK
Certainly Sainton has his own voice. Occasionally it borders on the lushness
of Ravel, but in more forceful sections it boasts an almost sinewy texture.
In whatever mood he finds himself, whether it be his concert works or his
one and only film score Moby Dick, Sainton’s voice is always
his own. While wisps of other composers may come to mind here and there,
the overall effect is ever that of a distinctively unique composer, relaying
the impulses of a stubbornly singular muse.
My own fascination with Sainton goes back to that horrible-sounding RCA LP
of Moby Dick (RCA LPM1247C) and my belief that it was high time a
new re-recording of this exhilarating and vibrant score be mounted. I had
contacted Chandos about doing such a project but they said it was beyond
them. Guessing that the film music had disappeared and that only a suite
mentioned by the composer was still available, I went about seeing if even
it could be found.
Imagine my surprise, then, when I was talking with the wonderful folks at
the Vaughan Williams Trust and they informed me that the entire film score
was still in existence. What’s more, they said the merits of the complete
score were so extensive and so worthy of praise as to make the recording
of a mere suite ridiculous. That was their notion, not mine. They were right,
too. So much for the idea of critical minds frowning upon the notion of complete
film scores being re-recorded!
Anyway, the trail led to Barbara Clark, who is Philip Sainton’s daughter.
She signalled an eagerness to see the score rescued from oblivion, and my
colleagues John Morgan and Bill Stromberg, the driving forces being Marco
Polo’s classic film music series, began work restoring the music for
recording in Moscow. The work was recorded April 1997 and we hope to have
it out on CD sometime late this summer or early this fall.
American Record Guide critic Philip Haldeman has heard an advance tape of
the new recording and has pronounced it “among the most thrilling, gorgeous
scores ever written.” Those who continue to look down upon film scores
in general probably won’t agree, but Morgan, Stromberg and I found it
a uniquely rewarding project.
[In response to my comments on the Baxian similarities in Sainton Bill added]:
Many moments in Moby Dick recall Arnold Bax’s later period, though I
think you’ll hear more of that on the upcoming Marco Polo than on the
old RCA album. For instance, there’s a disturbing scene in the film
where Captain Ahab refuses to help a fellow sea captain search for sailors
lost at sea, preferring instead to pursue the accursed leviathan. Without
Sainton’s stormy, nightmarish music, Gregory Peck’s portrayal of
the obsessed, quite mad Ahab might have seemed well over the top. Instead
the scene comes off as chillingly believable. Such is the power of great
music - and Moby Dick is a great score, however unheralded it may be.
© Bill Whitaker
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A review of the latest Sainton CHANDOS CD which includes
‘Nadir’
SAINTON:
Nadir - Symphonic Elegy for orchestra 13’ 40” (1948?)
The Dream of the Marionette 18’27” (1929)
HADLEY:
La belle dame sans merci 9’59” (1) (3)
One Morning in Spring - a sketch for orchestra 4’14”
(1942)
Lenten Meditations (1962) 18’57” (1) (2)
(3)
Neill Archer (tenor) (1)
Stephen Richardson (bass) (2)
Philharmonia Chorus (3)
Philharmonia Orchestra
c. Matthias Bamert
CHANDOS CD CHAN9539
Here are the works of two neglected British composers. Sainton is certainly
an obscure figure - the least known of the two. Sainton (1891-1967) wrote
a handful of orchestral works and various songs. His widest claim to fame
is his score for the John Huston film of Moby Dick (1956). The film
starred Gregory Peck as the obsessed Ahab. The complete film score is expected
to be released sometime this year by Marco Polo and the release of that CD
will be a significant event for British music. There is also a concert suite
arranged by Sainton and enterprising concert promoters should consider
programming the piece.
Nadir has its origins in Sainton having witnessed the death of a child during
a bombing raid on Bristol. Sainton stayed in the city during its exile there
to escape the heavier bombing in London. Even so the orchestra suffered some
deaths and eventually moved on to Bedford. Nadir’s intense atmosphere
is a corrective to any sense of triumphalism after the second world war.
The work was premiered in 1949 by the Hallé conducted by Barbirolli.
In its vivid energy it can be compared with Stanley Bate’s wartime
Third symphony and Arthur Benjamin’s Symphony. The sound-world
has striking similarities to that of mature Bax during his Northern phase.
Certainly if you enjoy the Bax Symphonies 5/6, Northern Ballads
1/2 and Tale The Pine Trees Knew you will like this. The disc
is a worthy follow up to Chandos’ earlier CD of the Sainton tone poem
The Island - a fine wild essay again in a strongly Baxian vein with
not a trace of pastoral idyll. Barbirolli commented on Nadir’s ‘tragic
intensity.’
The Dream of the Marionette (in five tracks) is less impressive although
very enjoyable. Impressionistic cross-references are strong here and Ravel
comes across as an influence. It was one of Sainton’s earliest successes
in the 1929 BBC Proms. Certainly a brilliant orchestral essay it is well
worth hearing though unless you are sympathetic to these things I suggest
you skip reading the ‘plot’ of the ballet.
********
Hadley is perhaps closer to Moeran and Howells than Vaughan Williams. His
natural habitat was the choral one. He wrote some meltingly tender music
for choir and soloists with orchestra. We know little enough of his music
to be able to comment on which is the strongest but, of the works I have
heard, The Trees So High (the coupling with Sainton’s The
Island - Chandos CHAN 9181) is the best place to start.
A taster of his orchestral style is to be found in One Morning in Spring
- written for RVW’s 70th birthday as a tribute. This is a bright-eyed
pastoral essay - all glittering waters, warm breezes and warm countryside.
There is some Delian dreaming but not much. A delight to try if you have
already fallen for Moeran’s Symphony, Bridge’s
Summer, the second of his Two Jefferies Poems or Enter
Spring, RVW’s Pastoral Symphony or (and how’s this for
an apparent non-sequitur) Philipe Sarde’s score for Tess.
La belle dame sans merci sets the famous Keats poem which also drew
a setting by Cyril Scott. Scott’s setting is for baritone, chorus and
orchestra. It was broadcast by the BBC in 1979. The Scott work was written
in 1916 and revised for performance by Beecham at the Norwich Festival in
1934. The Hadley work dates from 1935 and the Scott was perhaps the stimulus
for the setting. The rich choral writing has a Delian ecstatic quality leaning
towards the delirious delights of Howell’s Hymnus Paradisi and
there is also a something of Van Dieren’s Chinese Symphony in
this music although Hadley’s gift for melody is much stronger than Van
Dieren’s. Hadley conducted a rare performance of Delius’s Song
of the High Hills in Cambridge in 1945.
Lenten Meditations dates from 1962 - his last work for voices with
orchestra. This has all the characteristic Hadley fingerprints but is marred
(for me) by the choral hymn sections which sound too much like church
congregation singing and lack the uncurbable wildness of his other works.
This anthology has its own British antecedents in the shape of Bliss Morning
Heroes, Britten War Requiem and Vaughan Williams Hodie
and Dona Nobis Pacem. An attractive work then and well worth hearing
despite the occasionally stifling ‘churchy’ atmosphere partly offset
by the bright orchestral colours. It is work of surprises too: some of the
words are spoken by one of the singers. Track 10 ‘A babe in
Bethlem’s manger’ is classic Hadley setting high-lying
women’s voices at the extremes of their register - we hear something
similar to equally devastating effect in The Trees So High and by
boys in I Sing of Maiden.
***********
Excellent notes by Bernard Benoliel (let’s hope we can hear some of
his music one day soon). The RVW Trust working discreetly and quietly are
to be thanked for their support for these valuable recordings. I await future
volumes although none are promised.
We need all of Hadley’s output on disc. His batch of cantatas for solo
voice and small ensemble would make a fine collection so come on Hyperion
…. or Chandos. Hadley’s setting for soprano and ensemble of Scene
from Thomas Hardy’s Woodlanders is another gem. Marty South’s
lament is wonderfully set - a touching score which must stand very high
in the literature of Hardy settings. Ephemera is a setting of words
by W B Yeats. Mariana and Lines from The Cenci are similar
works.
Of Hadley’s bigger works we need a reissue of the 1970s EMI recording
of The Hills - voluptuously scored again. I do not know the two late
cantatas with orchestra: ‘Fen and Flood’ and
‘Connemara’ but I would certainly wish to see them on CD
or at least to hear a BBC revival of them. They are very rare pieces as is
Travellers to a similar format.
On the next CD in this series please let us have Hadley’s Travellers
and the tone poem Kinder Scout coupled with Sainton’s orchestral
pieces The Clipper, Serenade Fantastique (preferably in the
original version for viola and orchestra), Harlequin and Columbine
and the Two Sea Pictures.
The recording is vivid and clear and the disc is highly recommended. Rob
Barnett (April 1998).
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PHILIP SAINTON - RESEARCH NOTES BY ROB BARNETT
SAINTON, Philip [1894 - 1967]
Sainton’s music, at least on the evidence of The Island, is
influenced by the likes of Bax and Moeran. Sainton’s grandfather was
Prosper Sainton the eminent French violinist and friend of Mendelssohn, Wagner,
Liszt and Dickens.
Sainton was a violist with the BBCSO from 20 July 1930 to 2 February 1944.
Before this he had been leader in the viola section of the Queen’s Hall
Orchestra.
The Ralph Vaughan Williams Trust included in their list of important but
neglected British Music the Symphonic Poem, The Island and the
Scherzo for viola and orchestra and have offered to subsidise first
performances.
The Island is now available on a Chandos CD with the LPO conducted
by Mathias Bamert.
During the early 1950s he was working on songs.
He is pictured with Arnell, Jacob, Richard Hall, Tate and Moeran (1949) in
Frank Howes’ booklet on the Cheltenham Festival (Oxford 1965). A picture
also appears on plate 37 of Donald Brook’s Conductors’ Gallery
(Rockliff, 1947).(above)
Another source has indicated his death as being registered at Petersfield,
Hampshire aged 76 in the third quarter of 1967.
Orchestra:
Two Orchestral Pictures (* Proms 4.9.1923, orch/comp, Queen’s
Hall);
Study, Harlequin and Columbine (* Proms 1.10.1925, Queen’s Hall);
Ballet, The Dream of a Marionette (* Proms 1929, Queen’s Hall);
Symphonic Poem, The Island (* 1939, BBC Orch/Clarence Raybould, 5.6.1942,
ded Ernest Hall, also BBCNO/Charles Groves);
Symphonic Elegy, Nadir (1949, Cheltenham);
Phantom Gavotte;
Viola Concerto, Serenade Fantastique for viola and orchestra (* Proms
1935, Bernard Shore/BBCSO/Henry Wood, Queen’s Hall);
Serenade Fantastique for oboe and strings - an arrangement of the
above (* Petersfield November 1953?; Cheltenham Festival with Leon Goossens
then London Proms 1951, Royal Albert Hall, later Ian Wilson/BBC Welsh
Orchestra/Rae Jenkins);
Film: Moby Dick (1956);
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ENQUIRIES
E-mail enquiries about Sainton can be directed in
first instance to Rob Barnett, Editor, British Music
Society Newsletter at rob.barnett1@btinternet.com
Return to Classical Music on the Web
In
1930 on returning from his American tour with the London String Quartet Philip
Sainton joined the BBC Symphony Orchestra as sub-principal later to become
principal viola and since that time most of his works, which include several
songs, have been broadcast.