THE TWILIGHT ZONE

This post may come a little late, but better late than never. After my first post of Original Twilight Zone scores, Closet visitor DMA (name abbreviated to protect the not-so-innocent) stepped up and offered to rip the available scores from CD for us, as a kind of "Dankeschoen" for our work here at the Closet of Curiosities. Since I've only got the slightly scratchy vinyls, DMA's offer was more than welcome.

Well, and here you have it, along with "Bernard Herrmann - Twilight Zone Complete Scores" (2 CDs), recorded by conductor Joel McNeely in 1999 from the restored scores.

Most of these scores are really awesome, with innovative orchestrations, lush use of electronic instruments and groundbreaking thematic work, so please go on and get 'em ASAP.

TWILIGHT ZONE 40TH ANNIVERSARY COLLECTION (4 CDS)
CD 1 features music from Bernard Herrmann:- The Outer Space Suiteand the scores from the episodes- Where is Everybody?- Walking Distance- The Hitch-Hiker- The Lonelyalong with various main and end titles by Herrmann.

CD 2 contains main and end titles by swiss composer Marius Constant and the Jerry Goldsmith scores- Back There
- The Big Tall Wish- The Invaders- Dust- Jazz Theme #1- Jazz Theme #2- Nervous Man in a Four Dollar Room

CD 3: More main and end titles by Marius Constant, plus the following scores:- Perchance to Dream (Nathan Van Cleave)- Elegy (Nathan Van Cleave)- Two (Nathan Van Cleave)- I Sing the Body Electric (Nathan Van Cleave)- A World of Difference (Nathan Van Cleave)- A Stop at Willoughby (Nathan Scott)- Jazz Theme #3 (Street Moods in Jazz) (Rene Garriguenc)

CD 4 offers still more main and end titles by Marius Constant and the scores from the episodes- A Hundred Yards Over the Rim (Fred Steiner)- King Nine Will Not Return (Fred Steiner)- The Passersby (Fred Steiner)- And When the Sky Was Opened (Leonard Rosenman)- The Trouble with Templeton (Jeff Alexander)- The Sixteen Millimeter Shrine (Franz Waxman)

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Bernard Herrmann at the pianoforte

BERNARD HERRMANN: TWILIGHT ZONE COMPLETE SCORES:2 CDs with various main titles/end themes and the scores for the episodes
- Where Is Everybody?
- Walking Distance
- The Lonely
- Eye Of The Beholder
- Little Girl Lost
- Living Doll
- Ninety Years Without Slumbering
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There's no artwork or liner notes, though, but the interested reader may help himself with a little search on the web.

Justine [soundtrack]

Jerry Goldsmith - Justine [soundtrack]

Following Goldsmith's Freud soundtrack posted earlier this week, here's another one of Goldsmith's soundtracks which goes in a different direction musically.

From the liner notes:

Relax - ready for exotic dreams? "Justine" is ready to take you on a personal tour of Arabian - Egyptian, if you will - nights. Tour director is Jerry Goldsmith, the super-talented young tunesmith who composed, arranged and conducted the score for this fabulous movie, and who brings this album to you. He has provided one of the most spellbinding musical scores and albums to come out of Hollywood or any international film studio in a long time. Jerry has not provided simply mood music for a movie, but he has created music making a mood - many moods. These new, rich combinations of sounds are guaranteed to dispel any worldly worries as the listener is wafted to ports of sensual call. Here, for a change is music you can enjoy effortlessly without having to work at it; without having to wonder what it is or what it should say.

The youth of Jerry Goldsmith is not to be confused with his ability. He already has four Oscar nominations for his film scores on "Sand Pebbles," "Patch of Blue," "Freud" and "Planet of the Apes." And he has Emmy nominations for "Thriller" and "Man From UNCLE." There is no phase of music with which he is not familiar. And he proves it in this tale of Egypt, 1938 by an amazing mixture of instruments ranging from the richness of 16 violins, six violas, as many celli, recorder, auto harp to the most interesting combination of old and new - an electric sitar.

"Justine" combines the romantic, Biblical background of Egypt, cast in a semi-modern continental story. The film combines the top talents of movie-making, from a book which required a decade from the purchase of the Lawrence Durrell classic novel to the eventual filming. It remained for writers Lawrence Marcus and Ivan Moffatt working separately to come up with the screenplay true to the mood of author Durrell. For "Justine" is described by the author as "An investigation of modern love." Such love forms as incest, homosexuality, adultery, marital, patriotic and platonic are part of the story. They are also represented in the treatment given the music by Jerry Goldsmith.

Side One

1. Justine {2:29}

2. The School {3:31}

3. The Farm {3:08}

4. Melissa {1:50}

5. Alexandria {1:32}

6. Carnival Happening {2:30}

Side Two

1. Melissa & Darley {1:59}

2. Samba Chica {1:40}

3. The Beach {2:50}

4. The Telescope {1:46}

5. Ambush {1:11}

6. End Titles {2:32}

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Freud [soundtrack]

Jerry Goldsmith - Freud [soundtrack]

Early in his prolific and renowned career, film music composer Jerry Goldsmith scored a soundtrack to the 1962 film, "Freud". It is a biographical film of Sigmund Freud directed by John Huston.

From the liner notes:

From the very first moment of the film's main title, one is absorbed not only by the strange and effective art work, but even more importantly by the brilliant music. It is music of high energy and tension, at times disturbing. Other portions of the score contain passages of an eerie nostalgia and delicate lyricism. The style of composition is substantially atonal, similar to that of the experimental atonality of Freud's later contemporaries in Vienna: Berg, Webern, and Schoenberg (circa 1910-25). This type of stark agitated music was necessary; for had the central focus of the music been linked precisely chronologically to Vienna in the 1880's i.e., Mahler, Brahms, Johann Strauss Jr. and Richard Strauss, etc. (There are brief allusions to Johann Strauss Jr. in certain parts of the film, but in a style appropriate to the score's fundamental intentions), the effect would have been different and off-target.

The score sustains a cerebral character throughout. It seems to scan the psyche and direct the emotions in a severe and bizarre fashion perfectly descriptive of this important period in Freud's life. Goldsmith's musical expression seems to have a dual nature. At times it has the detached objective quality of Freud the scientist. At other times it takes on the aberrational identity of the various characters of the drama, including Freud himself, whose important psychological discoveries included revelations about the effects of a traumatic episode in his childhood on his own psyche. These two contrasting subjective and objective elements are skillfully manipulated by Goldsmith, who superimposes, when the film calls for it, his unique communication of a curious quasi-Viennese nostalgia.


Tracklisting:

Side 1

1. Main Title {3:17}

2. Charcot's Show {5:08}

3. Thirsty Girl {1:18}

4. Case Histories {2:12}

5. Desperate Case {3:30}

6. The Funeral {0:45}

Side 2

1. Cecilie and the Dreamer {3:02}

2. Cecilie's Dream {1:07}

3. The First Step {2:10}

4. Red Tower Street {1:26}

5. Trauma {3:20}

6. Freud's Awakening {1:51}

7. End Title {2:30}

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