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  • 阿廷塞尔：再见，契普斯先生／双城记
    ADDINSELL: Goodbye Mr. Chips / A Tale of Two Cities
    专辑号：8.223732
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• • 阿廷塞尔：再见，契普斯先生／双城记/ADDINSELL: Goodbye Mr. Chips / A Tale of Two Cities
  • [ 介绍 ]
  • RichardAddinsell (1904 - 1977) In 1941, war-weary cinema-goers, attending the latest "Britishfilm" at the Regal Cinema, Marble Arch, in London’s West End, were struck,not necessarily by the acting, dialogue or sets, but by a piece of music thatpervaded the whole film, climaxing in a virtually complete performance of it ina concert setting within the scenario. The film company had no idea that itwould have such an affect on audiences, and had not prepared a commercialrecording for sale. The film was Dangerous Moonlight, and the pieceeveryone was talking about, and humming as they left the cinema was the WarsawConcerto by Richard Addinsell. After fifty years, more than a hundredseparate recordings, and sales in excess of three million, its appeal remainsundimmed. So undimmed that it still outshines, in the public’s mind, everythingelse the composer wrote. But he wrote a great deal, and this disc attempts toshow the breadth of his achievement beyond the Warsaw Concerto. Richard Stewart Addinsell was born on 13th January 1904 in London, the younger of two sons of a successfulbusinessman father and adoring mother, who became very protective of him, tothe extent that he was educated at home. Some might say this made him ratherwary of institutions of all kinds thereafter. For example, he went to Hertford College, Oxford in 1922ostensibly to read Law, but stayed for little more than eighteen monthswithout, naturally, taking a degree. His interests were already turning tomusic. So he enrolled at the Royal College of Music for the autumn term of1925, but he remained there only until the following Easter. Lessons in theorymust have seemed positively prosaic compared with the prospect of writing songsfor that year’s Andre Chariot revue, some with the legendary Noel Gay, of Me andMy Girl fame. He was later to pursue his own line in education, and in1929, he travelled Europe visiting major theatres and musical centres, spendingmost time in Berlin and Vienna. One of the most enduring and productive artistic collaborations of hiscareer began, when he met the writer Clemence Dane (1882-1965). His first workfor her was incidental music for the play, Adam’s Opera in 1928, butthey continued to work together from time to time right up to her death, mostnotably with the combined version of Alice in Wonder/and and Throughthe Looking- Glass. An earlier play, Moonlight is Silver introducedhim to Gertrude Lawrence, who recorded the title song with dialogue from one ofthe scenes, with her co-star, Douglas Fairbanks Jnr, and during the war, Dane’scycle of religious plays for radio, The Saviours, benefited from hisdeft touch. It was Fairbanks who, with Clemence Dane, was responsible forintroducing Addinsell to films in Britain in 1936,with The Amateur Gentleman, which starred the American actor, and waspartly scripted by Dane. (He had nearly started his cinematic career in Hollywood where he had gone some years earlier to work at RKOstudios on what turned out to be an abortive project involving the Czech-bornactor Francis Lederer, following the American opening of Alice.) After this debut film, came South Riding, Dark Journey, FarewellAgain and Fire Over England in 1937, Vessel of Wrath in 1938,and the following year, the first propaganda feature film of the War, TheLion Has Wings. The same year saw his first really international successwith Goodbye Mr Chips. 1940 saw the year of Dangerous Moonlight andGaslight, the first version that MGM sought to suppress in favour oftheir later American production. Love on the Dole, This England and TheBig Blockade followed in 1941, and The Day will Dawn a year later.However, the war was largely spent scoring some twenty documentaries for theMinistry of Information, and similar organisations, culminating in the classic Diaryfor Timothy. In 1942, on the steps of the National Gallery, after one of its famouslunchtime concerts, Addinsell met Joyce Grenfell, whose friendship he valuedfor most of his life thereafter. Together they wrote numerous songs, for revues,or Joyce’s one-woman shows, one of the earliest being, I’m going to see youtoday, which they recorded together in 1942. They continued collaboratingup to the mid-sixties, when Addinsell’s failing health prevented his playingthe piano and writing the memorable tunes for Joyce’s witty and touchinglyrics. After a few less memorable films, Addinsell renewed his workingrelationship in 1950 with the Irish producer/director, Brian Desmond Hurst, whohad directed Dangerous Moonlight, some ten years earlier, and two filmsemerged that produced some of his best music -Tom Brown’s Schooldays, andScrooge, starring the man who was born to play him, the wonderfulAlistair Sim. All through the 40s and 50s, he wrote for BBC radio plays and features,in between film and stage work. In all this endeavour, his method of workingwas the same. He would play what he had composed at the piano, making smallnotes of the outline of the material, but leaving the detailed work ofarranging and orchestrating to other hands. This was nothing new. It hadhappened throughout musical history in some way or another. Even the ’greats’,working against the clock, would pass such work to pupils, or in Bach’s case,his ’family’ to ’expand’, and in the film world to this day, it is the norm.Addinsell’s first collaborator was Roy Douglas, who had begun by ’doubling’ forVivien Leigh (on the virginals) in Fire Over England, and worked throughto the middle of the war taking in most films (virtually all twentydocumentaries) including Dangerous Moonlight, although not Mr Chips. (Douglas went on to write his own film scores and concertmusic, as well as becoming Vaughan Williams’ amanuensis.) Leonard Isaacs alsoworked with him on the stage shows Alice, and The Happy Hypocrite andseveral films including Fire Over England, and Blithe Spirit, directedby David Lean in 194~. The period from 1947 to 1957 is shrouded in somemystery, but it is a fair guess that Leighton Lucas was involved at some time,probably on Hitchcock’s Under Capricorn, since he had worked extensivelyfor Louis Levy since the thirties, and Levy conducted the score. From 1957 to1965, his regular musical associate was Douglas Gamley. The 50s produced films like Beau Brummel (1954), The Princeand the Showgirl, A Tale of Two Cities, and the 60s, The RomanSpring of Mrs Stone (1961) starring Vivien Leigh, Greengage Summer- oneof the composer’s own favourite scores -Waltz of the Toreadors based onthe Jean Anouilh play, and The War Lover, all in 1962. With thecompletion of Life at the Top three years later, he decided to retirefrom the professional world of music. Clemence Dane died at this time, and inthe years that followed Addinsell helped his great friend, Victor Steibal, thecouturier, through the debilitating illness of muscular sclerosis, and when hedied in 1976, Addinsell felt his time had come too. On 14th November thefollowing year he quietly turned his face to the wall and died. As a man, he was a quiet introvert who only really came alive makingmusic. In many ways, a lonely man, particularly at the end, but one who couldbe very generous to his close-knit group of friends, most of all at Christmaswhich he celebrated heartily. He had a lively invention, which, linked to asense of panache, produced compositions with a singular spark that turned notesinto music, and music into a fond memory. [1] Goodbye Mr Chips (Theme)One of the recurring figures in Addinsell’s filmcareer was the producer/ director Victor Savile, with whom he worked, from timeto time, for over thirty years. They had already collaborated on South Riding and Dark Journey before, in 1939, Savilebrought to the screen, this time as producer only, the James Hilton novel, GoodbyeMr Chips, the story of a schoolmaster finding love for the first time inmiddle life, and suffering its loss thereafter, with only a school and itspupils for comfort. The eponymous leading character was played by Robert Donat,who won that year’s Oscar, and his one true love by Greer Garson, in her screendebut. The MGM film, directed by Sam Wood, was made in England, and Addinsell provided a score to match its highproduction values. All the musical material (apart from a piano score of theschool song, with words by Eric Maschwitz) has been lost, and so I have reconstructed,for concert use, the opening theme from the sound track. In so doing, I havetaken certain liberties, like omitting the fanfare, covering Leo’s appearance,not repeating a certain 8-bar phrase (obviously done at the last minute, andafter the initial recording, given the poor edit, to cover a screen credit toIrving Thalberg) and including a liberal use of a tubular bell, which wouldhave clashed in the film with the tolling bell in the opening scene. The schoolsong is heard several times in the film (but only once in the opening titles)so I have included it twice in this version, at first gently on woodwind andharp, and secondly triumphant by the full orchestra. Furthermore, whereas inthe film, the music fades into the first scene, I have ended more decisively asbefits its general character. This is one of very few Addinsell films (another was UnderCapricorn) not conducted by Muir Mathieson, who remained a keen advocate ofhis music until the end. On this occasion, Louis Levy conducted, as musicaldirector of Michael Balcon’s short-lived MGM-British Studios, and the originalorchestrations were probably done by one of Levy’s circle, which at the timeincluded Hubert Bath, Hans May and Leighton Lucas, among others. [2] Invitation Waltz (from Ring Round the Moon)One of Addinsell’s most haunting waltzes was writtenfor the 1950 production of Christopher Fry’s play, after Jean Anouilh, RingRound the Moon, starringPaul Scofield as the twin heroes and directed by Peter Brook. It was recorded soonafterwards by Sidney Torch and Robert Farnon, both of whom made their ownorchestrations of the piece for modest studio forces. In the absence of anysurviving material (most probably lost in the Chappell’s fire of the 1960s) Ihave arranged the music afresh using an orchestra rather larger than that atthe disposal of my illustrious predecessors. The Smokey Mountains Concerto [3] Firstmovement [4] ValleySong [5] Old JoeClark A rare work, not linked to the cinema or theatre, this"concerto" in three movements for piano and orchestra was probablywritten at the invitation of the American pianist, Leo Litwin, who hadchampioned Warsaw Concerto in the USA,making a popular recording of it with Arthur Fiedler and the Boston PopsOrchestra. Litwin recorded his own truncated solo piano version of the piece onthe Boston Records label soon after its composition in 1950 but it seems tohave made little progress in any version since, despite its appealing language,here and there derived from American folksong idioms. The first movement (no title) is the most substantial and symphonic ofthe three, suggesting that it could have been intended as the first movement ofa true concerto. The opening orchestral figures mimick the start of Beethoven’s9th Symphony- for no apparent reason, and so, one might resort to cinemalanguage and say that it is ’purely coincidental’. It displays Addinsell’sdistinctive piano style with fast moving left-hand arpeggios beneath a chordalmelodic line. (His own left hand could stretch an octave and a half, whichexplains why pianists, even today, find some of his writing for the instrumentless than easy.) The slow movement, subtitled Valley Song, opens with a faintlybluesy melody scored for lower woodwind, that ape a sax section, before themain theme is announced on a clarinet against a gently rocking accompaniment inthe piano. The blues element returns at the climax of the third movement, OldJoe Clark, this time with a cheeky horn glissando. It starts, however, witha duet for violin and banjo and proceeds to treat the hillbilly tune, at times,in an almost Ivesian manner with sudden wild modulations and distortions,producing a montage of alternately clear and obscure images. [6] The Isle of Apples The title could have referred to Tasmania, but more likely alludes to Avalon, legendary burial place of KingArthur. A reflective idyll very much in the English pastoral tradition, themusic is generally restrained in character, although it reaches a suddenclimax, using brass for just half a dozen bars, before fading into the silencefrom which it came. The work is something of an enigma. It was never registered by thecomposer or his first musical executor, and the piece was discovered wrapped upwithin another work altogether. There are a few conductor’s markings on therough score suggesting a performance or intended performance but there is noevidence of such an event to date. The subject matter and the fact that it is very much a concert workmight lead one to surmise that it dates from 1965 after Addinsell’s lastprofessional job - the score for the film Life at the Top -and the deathof his friend and collaborator, Clemence Dane. At this distance in time, it canbe only conjecture, but it is a very welcome miniature all the same, and instyle unlike almost anything else he produced. [7] The Princeand the Showgirl (Selection) Originally entitled The Sleeping Prince, this Terence Rattiganstory was produced by Marilyn Monroe’s own company as a vehicle for herself, in1957. Her co-star, producer and director was Laurence Olivier. Their workingrelationship was far from easy, as certain scenes in the film still show.However, production values were high and the opportunity for theatrical as wellas cinematic music must have made Addinsell a clear choice for the film. Monroeplays a member of the chorus in a London theatre show, mischievously entitled TheCoconut Girl, who is ’picked up’ by a visiting mid- European royal (inLondon for the coronation of George V) and ’entertained’ at his London embassywith associated machinations. Lyrics for the song I found a dream (sungat the embassy privately by Monroe to Olivier) were by Christopher Hassall. This pot-pourri was put together at the time for the publishersby Felton Rapley from Douglas Gamley’s original orchestrations. (The same year Addinsell was to have written the score for TheAdmirable Crichton -he did write the dance music in it -but was sidetrackedelsewhere, allowing Gamley to take over. When it was suggested they share ascreen billing, Addinsell would have none of it, preferring his contribution tobe heard anonymously, and Gamley to take full credit.) [8] Tune in G As dull a title as one could imagine for such a charming piece, thisminiature dates from 1943, and seems to have been simply a ’tune’ he had to setdown. (This orchestral version, with piano obligato, appeared in 1952,following a commercial recording by Mantovani.) It has no discernableconnection with any commercial projects at the time -and they were considerable-but is simply a beautiful melody, perhaps reflecting the countryside aroundhis parents’ home, Appleshaw, where it was written (as was the music for BlitheSpirit several years later) interspersed with dramatic touches that mighthave suggested the title, Ballade -  but didn’t! [9] Overture: Tom Brown’s Schooldays Thomas Hughes’ novel of life at RugbySchool under the legendary, reforming headmaster, Dr Arnold,had been filmed in America in 1939, but this version, made in England, in 1951, seems to have superceded it. The castincluded John Howard Davies as the eponymous boy hero, and Robert Newton as DrArnold. Stylistically, the music is very English, in the vein of Eric Coatesand Haydn Wood, and almostmono-thematic, with Tom’s tune permeating the whole film. By assembling themusic to form a viable concert piece, I have followed the storyline, albeit ina rather truncated form, basically following this pattern -Tom goes to school,suffers under bully Flashman’s tyranny, and survives to live a happierexistence, not only at the school but in his life thereafter. Unlike MrChips, this film did not need a specially composed school song since Rugby has its own but in the triumphant final theme, thereare echoes of the song he would have written if called upon to do so. [10] FestivalIn 1940 the actor/playwright, Emlyn Williams, askedAddinsell to contribute a song and some incidental music for his play TheLight of Heart. Seven years later, he repeated the request, this time for Trespass,a tale of a little Cardiff draper with dubious spiritualistic powers.Two numbers were extracted from the score and published as separate items. One,entitled Harmony for false lovers, is a bitter-sweet piece that wouldnot be out of place as the theme for a 60s French love film. The other, Festival,is an infectious beguine which became popular, long after the playpassed out of favour, largely through a recording by George Melachrino in 1948.Six years later, Percy Grainger heard it and made a version for two pianos, ashe had for Warsaw Concerto, with equal skill. The work is dedicated toAddinsell’s parents. [11] Journey to Romance Although the slow melody in Warsaw Concerto was based on a rumbahe had written in his undergraduate days, Addinsell rarely reworked material,but with this short piece from 1955, he provided one of London’s recorded musiclibraries with something adapted from a work written some ten years earlierunder the title Invocation, for a BBC radio feature called Journey toRomance. Some of the original publication’s slight complexities of rhythmwere ironed out for this version, but the nostalgic air is as ’fragrant’ asever. [12] Fire Over England (Suite) With the success of Errol Flynn’s swashbuckling in Hollywood, it was only a matter of time before Britishfilm-makers realised the appeal of the genre. Taking a book by A. E. W. Mason(author of The Four Feathers), Alexander Korda set up this production in1937, with a script by, among others, Clemence Dane, photography by James WongHowe, and music by Addinsell. The cast, in this tale of the Armada, includedLaurence Olivier and Vivien Leigh, with Flora Robson as Elizabeth I and RaymondMassey as Philip of Spain. Addinsell’s score cannot match the Korngold classicsbut there is ample invention in the fanfares, marches and tango assembled inthis suite, compiled soon after the film appeared. [13] A Tale of Two Cities (Theme) On the original sound track of this Rank production of 1958, directedby Ralph Thomas, the fourth feature-Iength version of the Dickens classic,there is no piano to be heard. However, Addinsell thought the theme so strongthat he hoped it would ’take off’ in the wake of the Warsaw Concel1o, asa piano feature; he asked Douglas Gamley to create such a piece. It has beenrecorded a number of times before (not always in Gamley’s actual arrangement)by artists, such as Semprini, but it never achieved the status its composerenvisaged. Orchestrations I Arrangements (where known): Tracks 1, 2, 6 & 9 - Philip Lane Track 7 - Douglas Gamley I Felton Rapley Track 11 - Leonard Isaacs Track 12 - Leonard Isaacs I George Zalba Track 13 - Douglas Gamley
  • • 专辑列表
    • Goodbye Mr. Chips: Theme

      

      1: Goodbye Mr. Chips: Theme

      03:19

      Ring Around the Moon: Invitation Waltz

      

      2: Ring Around the Moon: Invitation Waltz

      03:41

      The Smokey Mountains

      

      3: I. First Movement

      06:35

      4: II. Valley Song

      04:39

      5: III. Old Joe Clark

      04:13

      The Isle of Apples

      

      6: The Isle of Apples

      05:51

      The Prince and the Showgirl

      

      7: The Prince and The Showgirl (Selection)

      06:01

      Tune in G major

      

      8: Tune in G major

      04:56

      Tom Brown's Schooldays: Overture

      

      9: Tom Brown's Schooldays: Overture

      07:58

      Festival

      

      10: Festival

      05:08

      Journey to Romance

      

      11: Journey to Romance

      03:38

      Fire over England Suite

      

      12: Fire over England Suite

      08:32

      A Tale of 2 Cities: Theme

      

      13: A Tale of 2 Cities: Theme

      03:42