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Music Conducted By
Jerry Goldsmith
Orchestrations By
Arthur Morton
Recorded By
-
Performed By
The National Philharmonic
Orchestra
Album Produced By
Nick Redman and Neil S.
Bulk
Label
La-La Land Records LLLCD
1296
Previous Release(s)
US 33 Mainstream S
6081
US 33 Citadel CT 6008
US 33 Citadel CT 7007
US CD Varése VCD 47238
Sony Legacy JK 57890
Intrada Special
Collection Volume 120
Year Of CD/Film Release
2014/1966
Running Time
122:53
Availability
Limited Release
Reviewed By
Brandon Moore
Cues
&
Timings
DISC 1 - THE INTENDED FINAL SCORE
1.Main Title 2:28
2.The New Arrival 1:26
3.A Pretty Medal 1:45
4. First Blood 2:26
5.The First Victory :43
6.The Captive 1:49
7.The Victim 2:36
8.The Cobra 1:41
9.The Attack 5:33
10.The Dinner Party :59
11. A Small Favor :58
12.Love Theme from The Blue Max (#1) 1:19
13.A Good Man :28
14. Intermission-Play Out 1:08
15. Intermission-Play In 1:43
16.The Bridge 3:19
17.Love Theme from The Blue Max (#2) 1:36
18.Retreat-Part I 3:16
19.Retreat-Part II 4:31
20.Stachel in Berlin-Part I 1:19
21.Stachel in Berlin-Part II 1:16
22.Nothing Needed :43
23.Kaeti Has a Plan 3:33
24.Stachel's Last Flight 2:01
25.End Title and Cast 2:45
Disc 1 Time: 51:20
DISC 2 -THE 1966 SOUNDTRACK ALBUM
1. Main Title-The Blue Max 2:28
2.Love Theme from The Blue Max 1:48
3.Retreat 1:27
4. First Blood 3:03
5.Waltz 1:12
6.Confirmed Kill 4:21
7.The Lonely Victor 3:32
8. Intermission Title :44
9.Bridge Duel 3:16
10.Battle 7:41
11.Food Riot 2:32
12.End Title 2:38
13.Watch on the Rhine 1:48
14.Pour Le M�rite March 2:18
15.Deutschland (German National Anthem) :51
ADDITIONAL SOURCE MUSIC
16.Student Song Medley 2:14
17.Polish Girl* :44
18.Freut Euch des Lebens 1:30
19.Artist's Life #1 * :46
20.German Parade March* :31
21.Artist's Life #2 * 1:02
22.Gloria March :26
ADDITIONAL MUSIC
23.The Attack (original version)5:36
24. First Blood (revised opening) :57
25. First Blood (discrete version) 2:27
26.The Attack (alternate edit) 6:34
27. Retreat Parts 1 & 2 (intended film edit) 7:41
28.End Cast (alternate take) 1:15
Disc 2 Time: 71:23
Soundtrack
Ratings
Disappointing
Functional
Average
Good
Excellent
Outstanding
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The
Blue Max
The Blue Max (1966) was an ambitious and epic
score from a young Jerry Goldsmith. The World War I film focuses
on an arrogant German infantryman named Bruno Stachel (George
Peppard), turned fighter pilot who climbs the ranks for the coveted
Blue Max medal, awarded for twenty enemy kills. It was written
at a time when war film music contained the intelligence in compositional
form and a memorable use of melody. Unfortunately, a majority
of this incredible effort was a victim of editing and would be
replaced in favour of sound effects. Goldsmith once commented
that the director John Guillermin was non-responsive at the scoring
sessions, saying Guillermin found the music too dissonant. Goldsmith
said "I don't think Guillermin likes it. But what the hell.
These are war scenes, and they show that war is horrible. I can't
write noble music for that."* Regardless of the outcome,
Guillermin had been extremely happy at securing Goldsmith for
the project and left the sessions satisfied, praising Goldsmith
for his wonderful score. The music was then, and remains a masterpiece
and proved incredibly influential for future composers in later
years, most notably on James Horner's Project X.
The Blue Max contains one of the finest themes from Goldsmith's
career. The theme's goal is the sensation of flight, a sound
that the composer would often return to. It begins with a descending
four note bell motif followed by trumpets and often contains
two lines moving in contrary motion. This effectively gives a
rising and falling motion perfect for the now antique flying
machines. The theme is lofty with plenty of glock and woodwind
trills. Toward the end of A Toast to Bruno (the first
cue cut from the film), Goldsmith ingeniously builds the excitement
of the main theme starting on bassoon, gently rising throughout
the woodwinds, and all moving over a shifting "wrong"
bass line. A wind machine is used in First Victory and
blends wonderfully with the chiming of the tubular bells and
bell tones in the trumpets.
In The New Arrival, the main theme is introduced in a
grim minor variation that is used throughout the score. Darkly
representing Stachel's obsession with winning the Blue Max,
it is complete with long snare drumming, a lyrical horn statement
in The Cobra, and then with full brass orchestration in
The Attack. This latter cue combines elements from the
beginning of the score with the trilling woodwinds, rising jabs
in the trombones, the major/minor versions of the main theme,
and a new rising dissonant Dies Irae motif in the strings. Adding
to the structure and complexity of the score is the musical form
of a passacaglia with Goldsmith's ostinato starting in the low
strings (First Blood).
A gorgeous love theme, masterfully composed in a minor key and
a true Goldsmith trademark, is effectively performed by a solo
piano. For this Goldsmith hired his own former teacher, the virtuoso
Jakob Gimpel. It's a variation on the main theme, an elision
with some notes missing, using a rising line that helps string
the score together. There are also some elegant miniature waltzes
on the main theme performed on violin. The album includes the
entrance and intermission music for the film, termed by Goldsmith
at the time as 'popcorn music', containing beautiful statements
of the main theme (Finale to Part 1, Prelude to Part
2).
Goldsmith's approach to the aerial battle sequences is complex,
but the feeling of brutality and the horror of war is captured
perfectly in the music with jagged and sharp statements in the
low brass and strings. The Bridge is an exciting action
highlight of the score. The fast paced strings repeat a note
staccato as the main theme is supported again by the wind machine.
Pounding timpani and tambourine add drive with blaring brass,
dissonant strings, harp glissando and tam pounding to the end.
Retreat starts with the low strings stating the Dies Irae.
The passacaglia continues again on the minor version of the theme
first with the horn then moving to the trumpets and strings.
Goldsmith's writing in the brass is unequalled with its swelling
terraced dynamics in the horns and trombones hinting at his exciting
action scores to come. A massive texture modulation ensues near
the end with the Dies Irae motif and minor theme building with
a battery of percussion. The love theme is soon taken over by
the minor main theme (Kaeti Has a Plan) and the main theme
is given a dream like final statement after Stachel's death (End
title).
The score is a landmark in Goldsmith history for being his first
collaboration with the legendary National Philharmonic Orchestra,
a relationship that would go on to span four decades. Originally
to be performed by 99 players, Goldsmith revealed in interview
that Guillermin demanded it be rounded up to 100 players, even
though, as Goldsmith pointed out, you wouldn't be able to tell
the difference. The director of course got his wish.
The Blue Max soundtrack had a number of incarnations on
LP before it was released on CD in 1985 by Varese Sarabande.
By sheer luck the original multi track masters were discovered
at the 20th Century Fox archive by Len Engel who had
turned up with some rusted film cans and said "Did we ever
do a 'TV series' called The Blue Max?" This unprecedented
find paved the way to a release that preserved a series of previously unreleased
music for the first time. In 1995 Sony Legacy added more score plus the source
music and was regarded
as the definitive presentation of this true film music classic. That
was until Intrada went back to the archives and presented the complete score,
included superior takes and assemblies of cues and added the missing exit music
and Balloon cue. But more importantly addressed the processed sound of the Sony
release. Then in 2014 we have this 2 CD version. The full film score, album,
source music and a selection of alternate takes. All with even more improved
sound!
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