MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

In 1973 producers Ilya Salkind and Pierre Spengler believed it was time to bring a classic super hero to the big screen. After protracted negotiations with DC Comics, they secured film rights to produce two Superman movies, which they would shoot back to back. A number of screenwriters were hired and let go before until a team comprised of Mario Puzo, David Newman, Leslie Newman and Robert Benton took up the project. Yet Salkind and Spengler were still not satisfied and so hired Tom Mankiewicz to do the final rewrite, which was completed in July 1976. Thematic for the film was taking the long and tortuous road to hire a director and cast. Richard Donner finally won out over nine other directors. As for the titular role, almost all of the leading men of the day were either turned down, or showed no interest. As such, Spengler decided to cast an unknown, and after over 200 auditions, newcomer Christopher Reeve won the part – bu it was felt he was too skinny. Rather than wear a muscle suit, Reeve went on a weight-lifting regimen, adding a massive 24 pounds of muscle. Joining the cast would be Marlon Brando as Jor-El, Gene Hackman as Lex Luthor, Ned Beatty as Otis, Jackie Cooper as Perry White, Glenn Ford as Jonathan Kent, Phyllis Thaxter as Martha Kent, Margot Kidder as Lois Lane, and Valerie Perrine as Eve Teschmacher.

The film celebrates Americana with a retelling of its defining hero. The story unfolds in three acts, with Act I set on the distant planet Krypton, where scientist Jor-El fails to convince the ruling council that their red giant star was in its death throws and would soon super nova. Resigned to his fate, he launches his son Kal-El in an ark to save his life, and as Krypton is destroyed the ark takes Kal-El to safety, eventually crashing on the planet Earth where the childless Jonathan and Martha Kent discover him. Believing this to be a gift from God, they decide to raise him as their own, keeping secret his origins and super human powers. Act II centers on Clark growing up in Smallville, Kansas, a perfect microcosm of rural America in the 1950s. It is a difficult time, as he needed to hide his true identity and super human powers. Act III reveals Clark as an adult who lives the dual life as a mild mannered and bumbling newspaper reporter, and as super hero who fights for truth, justice, and the American way. An epic battle with arch villain Lex Luthor nearly succeeds in his defeat before he achieves a rousing victory.

The film resonated with the public and was a stunning commercial success earning $300 million, or nearly six times its production cost of $55 million. It was Warner Brothers most profitable film ever, which served to spawn a franchise of four films. It was also nominated for three Academy Awards for Best Sound, Best Film Editing, and Best Film Score, yet only secured a Special Achievement Award for Visual Effects.

Director Donner had enjoyed a fruitful relationship with Jerry Goldsmith on his previous film The Omen, and so he was the natural choice for the scoring assignment. However a schedule conflict with prior contracts forced him to withdraw, and John Williams eagerly took up the assignment late in the process. He related that he liked the film because it was fun, and did not take itself seriously. He understood the challenge for scoring Superman, a super hero who embodies the strengths and virtues of America. He recognized that we look up to super heroes, who are larger than life, and inspire us. Speak to this reality required him to compose a bold, rousing and heroic power anthem, so as to elevate him for his admirers. Well, the rest is history as Williams created an iconic anthem for the ages, instantly recognizable, and indelibly imprinted in humanity’s collective consciousness.

The Superman Anthem is bold, confident, heroic, offering both optimism and pride, but what elevates it compositionally is its complexity and versatility. Within the construct of the anthem we have five distinct identities, which Williams uses alone or in combination during the film. The Superman Fanfare offers classic inspired fanfare by horns nobile, used to announce the arrival of our hero. The trumpet declared A Phrase, offers a rousing marcia eroica replete with soaring horn declarations, which is proud, and firm in its resolve – unstoppable. The B Phrase is less driving, more lyrical and noble in its sensibilities, evoking confidence and optimism. The C Phrase is perhaps the most rousing identity of them all with its bold trumpet declarations propelling the march and allowing it to soar. Lastly we have the final identity which is, remarkably, a Love Theme. It too is multi-phasic with its A Phrase forthright in its warm expression, while its B Phrase is more tender and yearning. Williams would employ these phrases beautifully throughout the film, with the Love Theme achieving a sublime expression.

Joining these primary themes are at least four notable secondary themes, beginning with the Planet Krypton Fanfare, which offers perhaps the most astounding fanfare ever created by Williams, or any other film score composer for that matter. It is Straussian in its sensibilities, rising dramatically upwards on solo trumpet from a sea of shifting low register chords, joined by kindred contrapuntal horns for a powerful exposition full of the pride and grandeur that is Krypton. The Farewell Theme speaks to goodbyes and departures in Kal-El/Clark’s life, such as when he was sent off by Jor-El in the ark, and when he makes the fateful choice to depart his mother and Smallville. The melody, carried by flute delicato aches and is bittersweet reflecting the struggle to let go. The Family Theme serves as the identity of the Kent family, and offers classic Coplanesque Americana, a reserved heroism, emblematic of Clark’s challenging childhood growing up in small town America. The Villains Theme serves as the identity of Lex Luther and his sidekick Otis. Most interesting is that Williams speaks not to their villainy, but rather to the comedic, if not campy, with its silly and prancing rhythms, an unexpected yet effective juxtaposition to Superman.

“Prelude and Main Title March” offers the iconic Superman March, a rousing anthem, which earns entry into the hallowed pantheon of great film score themes. We open atop a trumpet declaration embellished with woodwind triads, ethereal harp, and kindred horns, which supports a curtain opening to a small screen where a boy reads from the displayed comic pages about the value for truthful reporting by Metropolis’s leading news organization, the Daily Planet. The screen expands upwards carrying us past the globe of the Daily Planet building into space. At 0:44, slowly, inexorably the nascent main theme begins to coalesce, growing in strength and certainty until at 1:11 a timpani roll and an intensifying low register string ostinato launch at 1:42 the A Phrase of the anthem atop trumpet, which supports the roll of the opening credits. At 2:14 we transition to a full rendering of the more lyrical B Phrase. At 3:05 we soar atop the C Phrase, which offers the anthems most powerful statement. We then transition at 3:21 into the Love Theme, with statements of both its A and B Phrases. Notable is the underlying March rhythm is sustained during its expression thereby sustaining the energy and forward momentum of the anthem. At 4:03 we the confidence of the A Phrase returns and ushers in the bold bravado of the C Phrase that end the piece with a final reprise of its phrase. In my judgment this is one of the greatest film score openings in cinematic history, one, which perfects sets the tone of the film and captures its emotional core.

“The Planet Krypton” offers a magnificent score highlight, which features a full rendering of the Krypton Fanfare. A series of shifting low register chords carries us through the black void of space towards the Krypton System Sun, a massive red giant. As we reach the red Sun the Straussian fanfare rises, proud in its sensibilities, ascending dramatically upwards on solo trumpet joined by kindred contrapuntal horns for a powerful exposition, a testament of the pride and grandeur that is Krypton. It carries us into the Krypton council chamber where Jor-El prosecutes General Zod and his minions for high treason. Essential to the scene is Brando’s sterling oratory, as such Williams chooses to support the scene with atonal subtlety using electronica, flute, bass drum a sparkling tremolo, and very low register piano. At 3:17 trombones of doom resound as the guilty verdict is announced. A defiant Zod curses Jor-El and his heirs as muffled drums, trombones and tolling bells portend death At 4:49 the massive council chamber dome begins to open, supported by an awesome crescendo of power carried by drums of doom and deafening fanfare, which seals their fate. At 5:30 a rising tide of frenzied strings support the approach of their crystalline prison, which sweeps in and encases them for eternity, a life sentence with no reprieve. A woodwind ascent carries them off to their fate, ending on a dark sustain.

In “Destruction Of Krypton” we are offered an impressionist passage that supports Jor-El’s futile efforts to convince the Council that Krypton is doomed and must be evacuated. Williams portends this dire fate with a meandering line of tolling chimes, wordless ethereal female chorus and a plaintive bassoon. As the Council renders it verdict against Jor-El we pan out for a shot of Krypton, supported by trumpets of doom. The impressionist writing continues with plaintive strings, dark woodwinds and wordless female chorus as Jor-El and his wife debate the wisdom of his plan. At 3:04 the bittersweet Farewell Theme for flute delicato cries out as Jor-El asserts that his son will never be alone. At 3:19 a pan out of Krypton and its Sun is again supported by horns of doom. As Jor-El lowers Kal-El into the ark a sad descending line for celeste, woodwinds and electronica support the placement. What begins now at 3:59 is a return to consonance as Williams provides one of the score’s most stirring and evocative passages as Jor-El bids farewell to his beloved son. We bear witness to an impassioned ascent with horn declaration of the Krypton Theme, which crests powerfully. The bittersweet Farewell Theme, now full of the heartache of parting, returns one last time, as the end is near. At 6:16 quakes begin to rock the planet carried by blaring horn declaration as we bear witness to the onset of the destruction of Krypton.

“Star Ship Escapes” reveals the ark lifting ascending to safety as showers of glass rain down. The Superman Fanfare and anthem empowers the scene as the ark crashes through the home’s dome and begins its flight to safety. Williams whips his orchestra into frenzy to support Krypton’s destruction in what may be the score’s most powerful passage with both strings a woodwinds playing at their limits. We end with timpani announcing with dramatic power the tragic destruction of Krypton as its Sun explodes and consumes it in a firestorm. “The Trip To Earth” is a remarkable piece, which showcases Williams’ compositional gifts. We see the ark flying across the vast expanse of space for the long journey to Earth. William use of the scherzo in film is well known and he uses the form here, offering classic flight music. Trilling woodwinds, lyrical violins and syncopated horns propel the ark through space. Williams rotates the rhythms and instruments to and fro in ever shifting patterns of string ostinati, woodwind trilling and harp glissandi, which evoke a lightness of being for our little passenger. “Growing Up” is multi-scenic and spans a significant time interval. The first segment “Baby Makes and Entrance” supports the fiery crash of the ark and discovery of its contents by the Kents. Low register horns, full of foreboding carry the Kent’s to the ark, with a tender statement of the Superman Fanfare introducing the naked Kal-El. At 0:35 we segue into “Baby Lifts Lorry”, as we see Kal-El to the amazement of the Kent’s, lift the lorry off the ground. A tender rendering of the Superman Fanfare supports the scene. We close years later at 1:04 with “Racing The Train” where we see Clark as a teenager racing a train with superhuman speed. We open with a string glissando that unleashes syncopated French horns and strings animato, which propel Clark in a run for the ages.

“Death of Jonathan Kent” is a score highlight, which offers a passage of stirring and evocative power. Jonathan is counseling Kent on the need to control the urges to demonstrate his powers for trivial things. He advises and that he was destined for a greater purpose not yet known. As father and son walk together the Family Theme carried by a warm solo flute delicato supports the tender moment. With the transfer of the melodic line to strings it becomes bittersweet. As Clark runs after his dog, Jonathan suffers a heart attack at 0:52 and dies, which is supported poignantly by upper register string chords opposed by a low register rumbling, bell tolls and the transfer of the theme to elegiac trumpet. A har p glissandi supports a scene change to the burial site where the trumpet elegy continues, supported by plaintive strings, which begin a stirring ascent ever upwards, culminating with a final reprise of the Family Theme by violins and French horns nobile! This cue is sublime in its beauty and in film context is profoundly moving! “Leaving Home” offers another score highlight, which again reveals Williams capacity for evoking the powerful emotions of the scene. Clark wakes up and is drawn to the barn. Illusive female wordless choir adorned with harp usher in the Farewell Theme on flute delicato, which carries his walk to the barn. Slowly the music gains greater potency, culminating when he opens the ark and beholds the luminous green crystal. As dawn breaks we behold the unfolding of a masterpiece as warm strings usher in the Family Theme on oboe, as seen in a mother’s eyes, as she knows the time of parting has come. Strings and clarinet enrich the theme as mother and son embrace, with its melody building to a wondrous climax, which ends with a flourish.

“The Fortress of Solitude” offers the score’s longest cue and supports Clark’s journey northward, guided by the crystal. Ethereal female choir and celeste carries his progress and the Krypton Theme on woodwinds informs us of his destiny. We build to climax as he grasps the crystal, yet it never crest, instead flight music carries the crystal as he throws it. As it lands the Farewell Theme returns, reminding us of his parting words that Kal-El would never be alone. As the crystal catalyzes the formation of the Fortr ess of Solitude, a torrent of dissonant atonal textural writing ascends vigorously, supporting the upward thrust of crystals rising upwards. With the completion of the fortress we climax grandly atop the Krypton Fanfare. A high register string temolo, celeste and female choir carries Clark into the Fortress. Celeste with interplay of the Krypton Theme, Farwell Theme and Superman Fanfare bring the past and future together, drawing him to the control console, in which he inserts a crystal. A shimmering cascade ascent supports the projected appearance of Jor-El. What unfolds is twelve years of instruction by Jor-El, supported visually by a wondrous space flight return to Krypton. We are bathed in four minutes of bliss as Williams supports the journey with a wondrous flowing stream of string tremolos, ethereal choir, peaceful pastoral woodwinds alight with shimmering textures. We end our journey with Kal-El, now 30 and a grown man standing proud wearing the superman outfit. Williams celebrates the moment with a glorious statement of the Superman Fanfare, which launches the march as he takes flight.

In “Welcome To Metropolis” offers a tension cue as Clark and Lois are held up. But it soon descends into comedy with clarinet and oboe as Lois proves tougher than Clark who feigns fainting as she kicks the man. As the robber flees a nascent Love Theme is heard, alluding to their unrealized feelings. In “Lex Luthor’s Lair” Otis is being trailed by two cops in hope that he will lead them to Lex Luther. Williams introduces the Villain’s Theme, which embraces both the sinister and the comedic with its silly and prancing rhythms. The music darkens at 2:59 and comes to a horrific climax at 3:27 on his theme as Lex pushes a cop to his death by a speeding train. We close as we began atop the Villain’s Theme as we are introduced to Lex Luther. “The Big Rescue” is a score highlight, which showcases Williams’ extraordinary talent for action and suspense writing. Strings furioso, join chattering woodwinds and horn shrieks to ratchet up the tension as the Helicopter crashes, and keeps slipping off the roof, eventually causing Lois to slide out, hanging for dear life from a seat belt. Clark sees this at 2:32 and as he seeks a place to change his theme arises, cresting as he soars upwards and catches a falling Lois. The Love Theme is born, but it is truncated by descending screeching strings, which announce the falling helicopter. Superman grabs the helicopter and lifts it upwards to a soft landing on the roof supported by a bravado rendering of the anthem! A return of the Love Theme informs us that Lois is smitten, and we close on the anthem as Superman flies off and soars over Metropolis.

“Super Crime Fighter” offers a montage of superman fighting crime. The Villain’s Theme carried by pizzicato strings, bassoon and clarinet support a thief’s climb up a skyscraper with suction cups. The Superman Theme supports Superman’s arrival, precipitating a woodwind descent as he falls only to be saved and turned over to a policeman. At 1:23 syncopated horns usher in a ferocious accelerando with strings furioso as crooks are fleeing police in a car chase firefight. They escape in a boat, only to be captured by Superman carried by his anthem. In “Super Rescues” a playful rendering of the B Phrase of the Anthem supports Superman rescuing a girl’s cat from a tree. The rescue is light-hearted and playful. At 0:51 we change scenes on dire horns and strings surge to raise tension as Air Force One is damaged by a lightning bolt and descends out of control as it approaches Metropolis Airport. The A and B Phrases of the Anthem supports Superman’s rescue of Air Force One. “Lex Luther’s Luau” is a typical Hawaiian source song created by Williams to support the Lex’s faux luau replete with ukulele, guitar and piano. In “The Terrace”, Lois waits on her balcony, accepting a dinner invitation from “a friend.” The cue offers a tender and tremulous rendering of the Love Theme, as Lois is mesmerized by Superman.

“The Flying Sequence” reveals Lois on a date with Superman on her terrace, where she interviews him. She is both smitten and fascinated by him, and we see in his eyes that he is falling for her. This cue offers a masterpiece, where we are graced with one of the most perfect unions of score and film scene in cinematic history. Superman takes Lois in his arms on a wondrous flight, which sweeps Lois off her feet, powerless and full of yearning. What unfolds is a full and extended rendering of the Love Theme in all its sumptuous beauty, where it blossoms, fully informing us of Lois’ love for the man of her dreams. This cinematic moment is perfection! The cue’s opening phrases are tender, yet hesitant, reflecting our two lovers. At 1:47 as they take off the Love Theme also takes wings in a sparkling and magical way that brings quivers. Horns Americana celebrate the flight over the Statue of Liberty. Worth noting is that this is not the film version of the cue. It was originally meant to have Margot sing the song “Can You Read My Mind”, but her vocals were so appalling that it was scraped and instead she spoke the words in her mind. In “Lois and Clark” Clark arrives to take Lois out on a date. Interplay of the Clark Motif on woodwinds, the Superman Fanfare and the Love Theme speak to Clarks inner conflict to reveal to her his true identity.

“Crime of the Century” reveals Lex’s plan to sabotage the navy’s missile test. They distract the convoy; sneak aboard the truck and change the missile’s programed flight coordinates. The cue offers tension and comedy as Williams juxtaposes aggressive syncopated martial horns, strings belicoso and snare drums with the campy tuba powered Villain’s Theme. In “Sonic Greeting” Lex lures Superman with a hypersonic message to his lair for an ambush. An intensifying line of foreboding strings, syncopated horns and drums supports Superman’s effort to locate Lex. At 0:48 a swirling accelerando by strings energico and the Superman Fanfare propel his drilling descent to Lex’s lair, and arrival. In “Misguided Missiles And Kryptonite” Lex reveals his diabolical plan to destroy western California using one of the 500 megaton nuclear missiles to strike the San Andreas fault. Dark horns portend doom and usher in the Love Theme as we see Lois driving in the blast zone. Tension mounts with an intensifying line of strings and dire horn declarations as the navy’s efforts to self-destruct the missiles fail. At 1:12 Lex tricks Superman into opening a lead case for the missile detonator only to find a Kryptonite meteorite, which instantly weakens and begins to kill him. A dire rendering of the Farewell Theme unfolds as Lex drapes the meteorite around his neck and pushes him at 2:10 to his death into the pool below. He gloats over his victory supported by the Villain’s Theme, as dire strings speak to Superman’s demise with a frantic statement of his theme.

“Chasing Rockets” reveals Eve betraying Lex to save her mother’s life as Hackensack is targeted by the second missile. She removes the Kryptonite necklace in a deal for Superman to divert the second missile from killing her mother. Textural woodwinds interplay with an inviting Superman’s Theme, which becomes robust at 1:14 when he regains his super powers. He soars upwards through the ceiling and into the air carried by his fanfare as he pursues missile #2. Interplay of the Love Theme, Villain’s Theme and Fanfare propel the flight with remarkable energy. Strings energico join the Fanfare creating both tension and energy. An ostinato enters as he closes on the missile with horns brutale empowering him as he diverts the missile into space. No one writes action music like this. In “Superfeats” missile #1 has impacted and triggered the San Andreas Fault. The action writing here is amazing with ever shifting ostinati and horn blasts propelling the action as Surperman performs one rescue after another. He seals the San Andreas Fault and at 0:56 an accelerando carries him to the Golden Gate bridge where a school bus dangles over the edge. At 1:28 his Fanfare supports the dramatic rescue. A new ostinato roars to life and ushers in another Fanfare statement at 2:06 as he saves a train from derailment. Further rescues of a power plant and Jimmy at Hoover damn sustain the pattern of rapid string ostinato, horn blasts and the Fanfare supporting each rescue.

“Super Dam and Finding Lois” reveals the collapse of Hoover dam and a massive torrent of water heading toward a town. Superman pushes several large boulders causing multiple avalanches that dam the ravine. Williams supports these efforts with bold horn declaration of the Fanfare and the A Phrase of the Anthem. At 0:31 shrill violins and horrific dissonance support Lois’s car being swallowed by a crevice. At 1:08 the A Phrase of the Anthem and Fanfare support Superman’s dam building heroics, crowning his success at 1:50. At 2:04 the Love Theme sounds as he realizes Lois is in danger. The theme rises with urgency, and joins with the Fanfare in energetic interplay as he desperately flies to her. At 3:15 plaintive horn declarations inform us that he is too late, and as he grieves the Love Theme, so full of sadness informs us of his devastation. Shimmering electronica closes the cue as Superman contemplates his loss. In “Turning Back The World” Superman cries out in anger and disobeys Jor-El’s command to not change human history. Ethereal textures and the Krypton Theme support the competing counsels of his two fathers until 0:30 when horn declaration unleash his Fanfare and he soars into space amidst a dizzying dissonance of piccolo and horns. At 0:52 he begins his flight around the Earth counter-clockwise, halting and then reversing its rotation, in effect reversing the flow of time. Williams supports this with an accelerando and the Love Theme, which slows at 1:23 and the reaccelerates as he reverses his flight to clockwise to restart time and the Earth’s rotation. At 1:38 we return on woodwinds to Lois, who is alive and a warm rendering of his theme brings him back to her.

“Finale and End Title March” reveals our lovers reunited, which Williams supports with the Love Theme and woodwinds bearing the Fanfare. At 1:07 a string descent supports Superman depositing Lex and Otis in a prison courtyard, and his departure carried by his theme. At 1:56 the Anthem carries him into space and ushers in the roll of the End Credits, where we have a reprise of the Superman Anthem in all its glory! I will explore three of the bonus cues provided on the album. “Theme from Superman (Concert Version)”. Williams created a concert arrangement of the Superman March, which omits the album prelude, instead opening with the fanfare. This piece today is one of the most popular encore requests by fans across the globe. It offers a rousing Americana full of pride, confidence and optimism that just inspires. The “Love Theme From Superman” offers a concert arrangement for the theme, with ornate embellishments, which elevate its rapturous beauty to the sublime. Lastly, we have “The March Of The Villains” with its syncopated bassoon line and prancing comedic sensibilities. This concert arrangement is also embellished and showcases several variations of the animating main theme that provides for a most interesting and entertaining listen. Its articulation actual transitions to marvelous marcia animato before its playful woodwind rich conclusion.

I extend my thanks to Nick Redman and Mike Matessino for this wonderful reissue of the John Williams masterpiece, Superman. The digital mastering is excellent and the recording quality pristine. This score served as a seminal event in film score art in that set the standard for super hero films for decades, establishing anthems as the means of bringing these bigger than life super heroes to life. The Superman March is an iconic anthem, fully emblematic of our hero, one that has gained universal recognition for its rousing bravado, inspired confidence and optimism. The action writing is of the highest order, showing a complexity and sophistication that makes John Williams, peerless. But I would argue that what also elevates this film score is the stirring and evocative writing for the film’s quieter moments. “Death of Jonathan Kent” and “Leaving Home” both demonstrate a compositional gift and understanding of film narrative, which rare and precious. Also contributing to this is the Love Theme, a masterpiece cue, where we are graced with one of the most perfect unions of score and film scene in cinematic history. This score is flawless in its conception and execution. It offers a testament to John Williams genius, stands a late Silver Age gem, and a score, which I believe is absolutely essential for your collection. It just does not get any better than this.

For those of you unfamiliar with the score, I have embedded a Youtube link to the rousing Prelude and Main Title March: https://www.youtube.com/watch?v=QmHhIDUrdVA

Buy the Superman soundtrack from the Movie Music UK Store

Track Listing:

• Prelude and Main Title March (5:27)
• The Planet Krypton (6:37)
• Destruction of Krypton (7:51)
• Star Ship Escapes (2:21)
• The Trip to Earth (2:27)
• Growing Up (2:32)
• Death of Jonathan Kent (3:24)
• Leaving Home (4:49)
• The Fortress of Solitude (9:14)
• Welcome to Metropolis (2:09)
• Lex Luthor’s Lair (4:46)
• The Big Rescue (5:55)
• Super Crime Fighter (3:14)
• Super Rescues (2:10)
• Luthor’s Luau (Source) (2:44)
• The Planet Krypton (Alternate) (4:22)
• Main Title March (Alternate) (4:37)
• Superman March (Alternate) (3:45)
• The March of the Villains (3:33)
• The Terras (1:32)
• The Flying Sequence (8:10)
• Lois and Clark (0:47)
• Crime of the Century (3:23)
• Sonic Greeting (2:18)
• Misguided Missiles and Kryptonite (3:23)
• Chasing Rockets (4:55)
• Superfeats (4:52)
• Super Dam and Finding Lois (5:11)
• Turning Back the World (2:04)
• Finale and End Title March (5:28)
• Love Theme from Superman (4:59)
• Can You Read My Mind (Alternate) (spoken by Margot Kidder) (2:53)
• The Flying Sequence/Can You Read My Mind (spoken by Margot Kidder) (8:07)
• Can You Read My Mind (Alternate Instrumental) (2:52)
• Theme from Superman (Concert Version) (4:24)

Running Time: 147 minutes 15 seconds

Warner/Rhino RS-75874 (1978/2000)

Music composed and conducted by John Williams. Performed by The London Symphony Orchestra. Orchestrations by Arthur Morton and Herbert W. Spencer. Recorded and mixed by Eric Tomlinson. Edited by Rob ert Hathaway. Score produced by John Williams. Album produced by Mike Matessino and Nick Redman.