Laurnece Rosenthal Clash of the Titans Soundtrack Review

MOVIE MUSIC UK CLASSICS

Original Review by Craig Lysy

This picture presents a classic Greek myth that tells the tale of the demi-god Perseus (son of Zeus) who secures the mandate of Heaven as he takes on an ballsy quest to slay the forces of darkness and rescue his beloved. The renowned master of end motion animation Ray Harryhausen who was enamored with Greek and Arabic mythology conceived the film. MGM agreed to the project and provided a generous budget based on his previous successes with his three Sinbad films as well as Jason and the Argonauts. The film featured an all-star cast that included Laurence Olivier (Zeus), Maggie Smith (Thetis), Ursula Andress (Aphrodite), Burgess Meredith (Ammon), and the handsome newcomer Harry Hamlin equally Perseus. The storytelling was first rate and the stop motion animation superb. While not a critical success, the motion picture was a commercial success, more than roofing its production costs of $15 million to make $41 million.

Harry Lojewski, the music managing director at MGM, was familiar with Rosenthal's canon and arranged for him an interview with co-producer Charlie Schneer. Rosenthal confided that the project took him by surprise considering he had never seen a Harryhausen film nor written for this genre. But the interview went well and he accepted the consignment with enthusiasm. The film had been temp tracked with the classic music of "En Helddenleben" past Richard Strauss and he was asked to write a assuming and heroic score in this style. Rosenthal took on the challenge resolved to ensure that the music was indeed heroic and spoke to the audience with his vox. At the end a proud Rosenthal stated; "I do not know of whatsoever score I have written in which I take more than consistently united and had as much interplay amongst the themes." So, let us brainstorm the mythic quest…

"Prologue" opens the score in grand mode with a prelude of harp and string glissandi (the metal tenor evoked by the employ of picks) that descends to a bass crash and bell toll. Nosotros next hear a heraldic fanfare motif that will be infused throughout the score to emote drama and claiming. Rosenthal then introduces his powerful Wrath of the Gods Theme; a six-note minor cardinal statement led by French horns with ethnic horn counter and fluttering woodwinds that will sound whenever the wrath of the gods is manifest or Perseus confronts a mythical beast. Later on an extended statement we segue at the ane:22 mark into the "Principal Title" where Rosenthal boldly introduces the heroic Perseus Theme, a score highlight born by heraldic horns. Following the fanfare, this lyrical, brilliant and effusive major key theme transitions to the strings for a lush restatement. This theme has a great heroic arc that inspires me.

"Olympus" introduces the Olympus Motif, which Rosenthal used to emote Olympus, the legendary realm of the gods. This ethereal motif, carried past celestial choir and sung in pandiatonic way, perfectly emotes the other worldliness of the cloud-draped mountaintop habitation that was Olympus. This motif, whose volume was so dialed down equally to be nigh inaudible in the film, is presented here for the first fourth dimension as originally designed. It reprises throughout the score whenever the scene shifts to Olympus; "Zeus' Judgment", "Zeus Commands the Gifts", "Fulfill Your Destiny", and lastly, "It Is My Wish".

"Argos Is Doomed" is a portentous cue that opens with the Wrath of the Gods Theme, as an angry Zeus resolves to destroy Argos for the sins of its ruler Male monarch Acricius who cast Perseus and his female parent to their expiry, afloat in a casket. The potent theme is stripped of its brutal power and instead emoted past solo harp played over mournful strings which builds with rumbling percussion to a thundering climax as Zeus condemns Argos to a horrible end. With "Argos Destroyed" a solo harp over again plays the opening line of the Wrath of the Gods Theme until we hear a solo oboe, strings, woodwinds and chimes play a gentle version of Perseus' Theme, a reminder that he survived. At the 0:42 mark horns denote the Wrath of the Gods Theme every bit the Kraken is released. Glissandi strings and woodwinds create an eerie texture as the Kraken rises from its night watery depths. Tension continues to build as horns, strings, flute glissandi and frenetic xylophone play over a percussion rumble every bit a tidal wave sweeps toward the city of Argos.

"Boyhood of Perseus" is a very dramatic and beautiful cue. Information technology opens with an orchestral crash and a series of potent descending statements by horns played over undulating strings and a percussion rumble as the great tidal moving ridge wipes Argos from the face of the earth. A solo trumpet line plays a plumbing fixtures epithet for the city'due south demise. In a subtle transition from the solo trumpet line we hear the Wrath of the Gods Theme over again emoted mystically by solo harp over woodwinds. At the 1:29 mark solo flute, harp, violins and glockenspiel tenderly innovate Perseus'southward Theme. After this introduction trumpets with violins and glockenspiel accents take upwards the theme in a bright major key argument. The cue concludes with Perseus'due south Theme diminishing and segueing into the mystical solo harp line.

"Dreams and Omens" concerns the battle of competing gods (Zeus vs. Thetis) who have set into motion events that will bring their surrogates, their respective sons Perseus and Calibos, into armed conflict. The cue opens total of foreboding with repeating quadruplet statements by depression register strings, with a bass pulse soon joined past quivering strings, as Perseus is transported to Joppa. Glockenspiel and lyrical strings play and add a sense of wonder as Perseus arrives and surveys the amphitheater. Rosenthal concludes the cue by adding exotic flute work and textures to the ambiance.

"Invisible" highlights Perseus exploring his new weaponry. The cue opens mystically with harp plucked over a prolonged violin chord every bit Perseus tries out his new sword and shield. Tremolo strings, chimes and glockenspiel highlight Perseus becoming invisible after donning the helmet. We segue into "Joppa" with a change in tempo ushered in by tambourine, woodwinds, percussion and other ethnic accents which signal a scene shift to this exotic city of the Levant.

"Andromeda" involves the first close encounter between the two lovers and introduces us to the A phrase of the timeless Dearest Theme. Information technology opens dramatically with a prelude of celli and strings ascending in their register to culminate in a declarative orchestral statement atomic number 82 by trumpet and xylophone that is filled with unease. Subsequently a prelude by woodwinds, chimes and glockenspiel the A phrase of the Love Theme is introduced at the 0:55 mark by solo flute played over a sustained violin chord with glockenspiel accents. A series of off pitch descending cord statements later shifted to woodwinds signal that all is not well. Woodwinds and chattering xylophone shatter the magic of Perseus's beloved-struck moment as the music shifts to strumming harps and woodwinds as a huge vulture takes Andromeda abroad in a gilded cage. The cue ends with a argument of the A phrase of the Love Theme full of longing from a love-struck Perseus.

"Pegasus" is a score highlight that involves Perseus capturing the winged horse Pegasus. The cue opens with strumming harp and mystical synth furnishings as Perseus observes the magical brute. French horns, chimes and glockenspiel sound the Perseus'south Theme as he moves in by stealth to lasso Pegasus. Bassoon takes on his theme with woodwind textures as he nears his target. At the 1:22 marker we hear an orchestral crash with furious string work and percussion as he lasso's Pegasus and struggles to proceeds control. The triumphant return of his theme heralds his success. Side by side we are treated to a wondrous extended rendering of his theme as our hero soars in the heavens to rescue Andromeda from Calibos, the start challenge of his quest – simply glorious! At the 4:10 mark we segue into "To the Marsh" where Perseus dismounts and enters the marsh. Night bass, harp and woodwind accents play as Perseus approaches Calibos's encampment. His theme returns every bit he observes Andromeda in her gilt cage.

"The Lord of the Marsh" is an extraordinary passage and for me a score highlight. The cue opens darkly with two orchestral chords and harp accents that introduce the tragic Calibos Theme. His theme is night and pathetic, carried in the depression annals every bit we run across him enraged and nearly driven mad from the fate of his deformity. Plaintive strings accept up and emote the man's misery and rage as he recounts his tragic circumstances. I must say that Rosenthal really succeeded in emoting the anguish, anger and pathos of Calibos'south circumstances. As grotesques and reviled I felt from this villain, the music succeeded in eliciting empathy – a testimony to Rosenthal's talent. Never-the-less, the battle is joined in "The Fight in the Swamp" where we experience a furious torrent of intense action writing that employs a broad array of percussion and exotic instruments including xylophone, chimes, guiro, ratchet and vibraslap.

"Curse Concluded" involves Perseus freeing Andromeda from her gilded cage, thereby breaking the spell. The cue opens like the "Prologue" with a picked string glissandi followed by a fragment of Calibos'due south Theme carried by woodwinds. From here we are treated to a fine coaction between Calibos's Theme, Perseus'southward Theme and finally the Love Theme as Andromeda is freed and the spell broken.

In "Justice or Revenge" powerful repeating low annals resonating chords accompany the pain and pathos emoted past the Calibos Theme. At the 0:42 mark nosotros segue into a score highlight, "The Lovers", which features a total presentation of both the A and B phrases of the Love Theme. Opening with a prelude of strumming harp, violins introduce the lyrical A-phrase of the Love Theme. At the one:10 mark the more subdued B phrase enters to extend the theme's full development. The passage concludes with a reprise of the A phrase that fades to strumming harp. This beloved theme, then full of longing, is timeless and brings a quiver with every mind. I believe it to be a masterpiece theme.

In "The Head of Thetis" a exhibitionistic Queen Cassiopeia proclaims that the beauty of her daughter Andromeda is greater than the goddess Thetis. Horn blasts and rumbling percussion signal divine offense and portend retribution following Cassiopeia'south intemperate boast. Strings and fluttering woodwinds play atop the percussion rumbling with a recurring tolling bong as the head of the bully statue begins bang-up. We hear the alarm of trumpet blasts and furious strings equally the head crashes to the floor and begins speaking. A fragment of the Love Theme is heard every bit Andromeda's fate is in peril as Thetis condemns her to death. The cue segues at the 2:03 marker into Pegasus in the Net where Calibos captures Pegasus in a net. A torrent of strings, ratchet and racing percussion highlight the struggle.

In "Bubo Arrives" Zeus commands Athena to ship her mechanical owl to guide Perseus on his quest. Rosenthal introduces the austere five-notation horn carried Quest Theme that underpins Perseus'south journey. The cue opens with a steady percussion beat out coupled with restrained contumely emoting the theme. A trumpet call leads to a transition passage with the theme serving as a prelude to Bubo'southward comic arrival. At the 1:06 mark Bubo's Theme is finally introduced by flute and serves to lighten the pic as she crash lands. The theme rebounds as Bubo regains her begetting and we segue into "The Quest", which returns carried by its five-notation theme. As the party prepares to depart the horn play becomes brighter and takes on greater potency until we over again transition to the A phrase of the Beloved Theme. The cue finishes with an extended passage of the Quest Theme that concludes with dark and powerful rumbling every bit Perseus approaches Hades. The whimsical and playful Bubo's Theme, ofttimes used for comic event, makes me grin whenever I hear it.

"The Bye" opens with the A phrase of the Love Theme that then interplays with the Quest Theme as our Hero prepares for his side by side challenge. With "The River Styx" Perseus and his men must pay Charon to ferry them across the river Styx to the temple of Medusa. The cue opens eerily with quivering strings, stark percussive chords and wailing male chorus as the hooded Charon approaches. The night tenor of this passage is then joined by low register horn calls, which perfectly emote the men's unease as well as the stench of death that permeates the land nearly them. The frightful ambiance continues in "Medusa Temple" where the bass chord, quivering strings and plucked harp underscore the party'south approach to the temple. Rattling percussion and more powerful bass chords mount as the temple entrance is sighted. At the 1:32 mark we segue abruptly into "Ii Headed Dog" where the startled men boxing the frightful beast. Rosenthal employs very dynamic and syncopated writing carried past furious strings and frenetic percussion to capture the fearsome boxing. The cue concludes when a dramatic horn blast sounds equally Perseus slays the beast.

"Medusa" details the ballsy battle where Perseus slays the fearful gorgon. This creepy and suspenseful cue stands in stark dissimilarity to the more lyrical thematic approach used in the rest of the score. Hither Rosenthal choose to score the scene atonally with electronic harpsichord and the orchestra providing odd percussive accents equally well as slithering and rattling motifs to emote Medusa's movement and tail action. He succeeds on all counts and this terrifying cue is perfectly attenuated to the scene.

"Andromeda Shackled" describes the preparation of Andromeda for cede to the Kraken. The cue opens darkly with a series of string chords overlaid with muted horns. Information technology and then segues into an ominous statement of the Wrath of the Gods Theme that portends a dark retribution. Yet in that location is hope as we hear a brief play of the Perseus Theme equally our hero rides to the rescue. The cue concludes with a trumpet line that fades upon the wind.

In the following 3 cues, which contain the final epic boxing, Rosenthal unleashes a wondrous interplay of themes that is bluntly remarkable and leaves me in awe. Nosotros begin with "The Kraken", which displays the cardinal horror of the beast ascending from the watery depths. Befitting its enormity Rosenthal opens the cue with deep bass chords and ascending anomalous strings every bit the beast rises. From here information technology flows into the Wrath of the Gods Theme which crescendos with awesome brutal ability. The heroic Perseus Theme yet counters this statement as we come across our champion riding to the rescue. But there is more than, as lo and behold Bubo'southward Theme joins the fray every bit the owl darts and dives in a daring effort to distract the fauna. An ominous drum ringlet heralds the Kraken dispatching poor little Bubo. Next, a steady percussion pulse with racing strings and horn counters is heard equally the Kraken moves in to seize its prize. Nevertheless our champion arrives and we hear a resplendent counter by his theme as the battle is joined. We hear a swirling string torrent every bit the boxing unfolds, which ends with a horn crash as Perseus is pummeled and he along with the sack holding Medusa'southward head autumn into the bay. With "Clash of the Titans" as all seems lost, nonetheless Perseus's Theme emerges atop ascending strings against dark bass chords and horns, which crescendo with horrific ability as the behemoth stands poised to seize Andromeda. At the 0:42 marking as Perseus unveils Medusa'southward head and we hear huge bass chords with woodwind echoes that menses into a dramatic horn statement of the Quest Theme equally the Kraken turns to rock, cracks apart and falls into the bay. With the brute destroyed, triumphant horns emote the Quest Theme, which after a harp glissandi transition ushers in a joyous Perseus Theme which speedily segues into a climatic rendering of the A phrase of the Love Theme. Later on a comic Bubo interlude, the cue concludes with a warm caveat of the Perseus's Theme.

"The Constellations" opens with Bubo'due south Theme carried by harp and solo flute, which segues into a full argument of the Love Theme that is alight with glockenspiel and harp. At the 1:26 marker nosotros segue into the End Title, which burst forth gloriously with a full argument of the Perseus Theme. We conclude with i last argument of the A phrase of the Love Theme and a sparkling flourish of the Perseus Theme.

We now come to the alternative cues. I volition just comment on cues that offer significant variation or something new to the existing narrative. "The Constellations – Stop Championship" Rosenthal provides the aforementioned cues with a narrative by Sir Lawrence Olivier. I am not a purist that condemns reflexively any cue that includes a narrative. I must say that in this instance, Olivier's classic Shakespearean diction and delivery enhances the emotional narrative and contributes to a better musical argument.

Folks, the original LP and CD releases featured a minuscule 39 minutes of music (less than half of the finished score), nonetheless thanks to Intrada, nosotros are provided a ii-disc set that presents the entire xc infinitesimal score, including rare choral pieces written for Mount Olympus scenes that went largely unused! We are also treated to for the first time the powerful "Two-Headed Dog" battle, the lengthy and inspiring "The Quest" sequence plus unabridged "Medusa" cue. The audio quality is exceptional, and I must provide a hand over center thank you to producer Douglass Simulated, Warner Brothers, Lukas Kendall at FSM, and Sony Music for providing what I consider a monumental film score release.

This 1981 score is actually a throwback in that it is conspicuously written with a Gilded Age sensibility, and I must say that I believe this effort constitutes the apogee of Rosenthal's career. He succeeds on all counts in providing a score that will not just stand the test of time but also bring joy to future generations of motion-picture show score lovers. He provides a multiplicity of timeless and beautiful themes, which he combines and contrasts with sublime artistry. If you desire a score with heroism, run a risk, love and pathos, you take found it. I highly recommend this score and assign it my highest rating.

Buy the Clash of the Titans soundtrack from the Movie Music United kingdom of great britain and northern ireland Store

Rail List:

• DISC ONE
• Prologue and Chief Title (three:59)
• Olympus (Chorus) (2:33)
• Argos is Doomed (1:46)
• Argos Destroyed (2:27)
• Adolescence of Perseus (3:05)
• Zeus's Judgment (Chorus) (0:58)
• Transformation of Calibos (0:59)
• Dreams and Omens (2:03)
• Zeus Commands the Gifts (Chorus) (one:25)
• Magic Weapons (i:05)
• Fulfill Your Destiny (Chorus) (i:08)
• Invisible/Joppa (two:44)
• Andromeda (iv:21)
• Pegasus/To the Marsh (6:32)
• The Lord of the Marsh (iii:56)
• The Fight in the Swamp Fanfare (1:02)
• Curse Ended/The Dancing Girl (1:57)
• Justice or Revenge/The Lovers (2:23)

• DISC TWO
• The Caput of Thetis/Pegasus in the Internet (3:09)
• We Follow The N Star (0:27)
• It Is My Wish (Chorus) (i:24)
• Bubo Arrives/The Quest (5:41)
• The Farewell (2:17)
• The River Styx (2:fifty)
• Medusa Temple/2 Headed Domestic dog (3:31)
• Medusa (6:36)
• The Magic Sword (2:47)
• Bubo the Dive-Bomber (ane:21)
• Andromeda Shackled (ii:04)
• The Kraken (three:27)
• Clash of the Titans/Andromeda Rescued (4:20)
• The Constellations/End Title (iv:05) Prologue and Main Title (LP Version) [BONUS] (three:21)
• Zeus's Judgment (Chorus – Unused Alternating Version) [BONUS] (0:17)
• No Mercy (Chorus – Unused Version) [BONUS] (0:29)
• Joppa (Original Version) [BONUS] (ane:30)
• The Quest (Alternating Version) [BONUS] (1:04)
• Procession Drums [BONUS] (2:53)
• The Constellations/End Championship (LP Version) [BONUS] (narrated by Laurence Olivier) (4:05)

Running Time: 102 minutes 01 seconds

Intrada Special Collection Volume 150 (1981/2010)

Music composed and conducted byLaurence Rosenthal. Performed byThe London Symphony Orchestra. Orchestrations pastHerbert W. Spencer. Edited byRobin Clarke. Score produced past Laurence Rosenthal. Album produced pastDouglass Fake.

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Source: https://moviemusicuk.us/2011/02/20/clash-of-the-titans-laurence-rosenthal/

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