Home > Reviews > THE THREE WORLDS OF GULLIVER – Bernard Herrmann



Original Review by Craig Lysy

After the critical and financial success of The Seventh Voyage of Sinbad in 1958, Charles Schneer and Ray Harryhausen decided to further explore the fantasy genre drawing inspiration from a literary classic, Jonathan Swift’s 1726 novel Gulliver’s Travels. Columbia Pictures would finance and distribute the film, with Schneer again producing. Harryhausen would again oversee the Dynamation stop-motion animation and special visual effects. Jack Sher was tasked with directing, and he would collaborate with screenwriter Arthur Ross to write the screenplay, which would be loosely based on Swift’s novel. For the cast, Kerwin Matthews would again play the titular role, supported by Jo Morrow as Gwendolyn, June Thorburn as Elizabeth, Basil Sydney as the Emperor of Liliput, Sheri Aberoni as Glumdalclitch, Lee Patterson as Reldresal, and Gregoire Aslan as King Brob.

The story takes place in 1699 in England and explores the life of impoverished surgeon Dr. Lemuel Gulliver. He longs for adventure and riches, and so decides against the wishes of his fiancée Elizabeth, to sign on as a ship’s doctor for an around the world cruise. All does not go as planned as Elizabeth joins him as a stowaway on what proves to be a remarkable adventure. A storm tosses Lemuel overboard and he washes up on the isle of Lilliput, which is inhabited by the diminutive Lilliputians. They are terrified of his enormity and rope him down on the beach. He gains their affections however with several acts of kindness and secures his freedom from the emperor. Yet the relationship sours after he saves the kingdom from the attacking fleet of neighboring Blefuscu, yet angers the emperor by criticizing his reasons for war. Lemuel flees for his life in a boat he had built and sails to the isle of Brobdingnag, which turns out to be inhabited by a race of 60-foot-tall giants! The King collects miniatures, and he is imprisoned in a large gilded doll house where he finds Elizabeth, who had washed ashore after the shipwreck. Yet conflict also arises here when the King interprets Lemuel’s scientific knowledge as sorcery. They are sentenced to death, yet manage to escape, rescued by the young girl Glumdalclitch. After a long voyage in her woven basket they wake to find they had returned to England and the two settle down and live happily ever after. The film was a commercial success, earning $6 million, more than four times its production cost of $1.4 million. It again received critical acclaim for its stop-action special effects, but earned no recognition from the Motion Picture Academy.

There was never a question that Schneer would again choose Bernard Herrmann to score the film, although there was some reluctance by Columbia Studios Music Director Morris Stoloff, who was put off by Herrmann’s renowned temper and irascibility. Schneer prevailed and Herrmann was delighted that he would be able to indulge his longstanding love of English music from the Georgian Era. In explaining his approach to scoring the film, Herrmann related:

“The music I composed for the giants and the Lilliputians is exactly the same. All I did is change the emphasis. There is no world of small people, and there is no world of giants – only in one’s head. But poor Gulliver. He was so levelheaded he thought he knew differently.”

Herrmann would use three different ensembles for each of the three worlds portrayed in the film, while maintaining Swift’s parody of English pride and vanity. For England, he would channel the traditional, staunchly English pride with horns bravura and pompous percussion, although one discerns a certain tongue in cheekiness within the notes. For the diminutive Lilliputians, Herrmann lightens the orchestra, infusing daintiness in the high register with celeste and harp. For the gigantic Brobdingnags, the music darkens and becomes dour as we descend in register using low woodwinds, strings and contrabass tuba. The score in its totality is a remarkable achievement with Herrmann infusing his soundscape with several toy marches, fanfares, and dances. Additionally, Herrmann again uses his signature short repeating three and four-note motifs to create tension, mystery and drama. Four themes underpin the score; the English Theme offers a bold marcia nautica brimming with English tradition and pride. It offers a classic ABA construct with the A Phrase emoting the proud march while the B Phrase offers a delightful embellishment of lyrical strings and woodwinds. The fanciful Lilliputian Theme perfectly captures the spirit of these diminutive people, emoting with an incredible lightness of being, carried by bubbling woodwinds, bells, celeste, xylophone and harp. The dour Brobdingnags Theme is as Herrmann stated identical to the Lilliputian Theme, with a dramatic change of instruments, as the theme is much heavier, darker and carried by low woodwinds, strings sinistre, grim horns and guttural contrabass tuba. Lastly, there is the Love Theme supports our lovers Lemuel and Elizabeth and offers the score’s finest theme. Thirsting strings romantico so full of yearning offer one of finest love themes in Herrmann’s canon. There is a wistfulness in the notes, a longing for better times, which informs me that it emotes from Elizabeth’s perspective.

“Overture” offers a magnificent score highlight and one of Herrmann finest compositions. We open grandly with the English Theme as the Columbia Studios logo displays. The film tile ushers in the roll of the opening credits. A 0:28 we segue into the fanciful Lilliputian Theme carried by celeste, xylophone and harp with a wondrous lightness of being. At 0:47 we descend into the Brobdingnags Theme carried by low woodwinds, string and guttural contrabass tuba. At 0:56 we reprise with the pomp of the English Theme with an extended rendering of its B Phrase. We close with the A Phrase, which culminates magnificently with a grand flourish. “Minuetto” offers another score highlight, which takes us into the film proper, to Wapping England 1699. Herrmann supports with a delightful minuetto whose slow and stately ¾ rhythm carries Elizabeth through the streets with gentility. At 0:46 Herrmann transfers the melodic line to warm woodwinds and French horns as Elizabeth angrily confronts Captain Prichard for recruiting her fiancée for a voyage around the world. He defers, departs and she heads to Lemuel’s office. “The Lovers” reveals Lemuel being paid by a women for his services, with a chicken. Elizabeth enters, the chicken is let loose and a comic chase unfolds. As they end up on the floor, she kisses him and confesses her love as he despondently reveals how he is paid – with cabbages and chickens. A tender rendering of the Love Theme supports the intimate moment and her aspiration to buy a cottage in the country where they can lead a simple life together.

“Trio Refrain” offers a wonderful danza gentile, which carries Lemuel and Elizabeth along the streets of Wapping as they travel to the country cottage. The transfer of the melody to oboe is delightful. “The Old House” supports their arrival at a dilapidated, dirty and cobweb covered cottage. A plaintive rendering of the Love Theme supports their arrival, and we see that Elizabeth is hopeful, while Lemuel is despondent. They argue, he refuses to live in a hobble, and resolves to become rich as a ship’s doctor. She is furious, says she is leaving him and storms out, much to his dismay. “The Ship” reveals the ship at sea buffeted by a raging storm, rain and waves. Herrmann uses surging and ebbing strings and horns to evoke the storm waves buffeting the ship. At 0:13 we surge into a beleaguered rendering of the English Theme as we see the ship struggling in the stormy seas. In “The Storm” sailors bring Elizabeth, who is a stowaway, to the captain’s quarters. Lemuel is furious and at the captain’s suggestion declares that she will be dropped off at the Canary Islands for a trip back to England. She storms out, he follows and they argue on the storm swept deck. Herrmann again uses the orchestra to create the sensation of storm waves and at 0:13 a beleaguered English Theme surges powerfully as we see a massive wave sweep Lemuel off the deck and into the sea.

“The Lilliputians” reveals Gwendolyn and her lover Reldresal distressed that her father had fallen out of favor with the emperor. Her father joins them on the beach only to be startled by a giant – Lemuel, who moans and collapses on the beach. They flee in terror at the sight of him. Herrmann supports the scene with a fine rendering of the Lilliputian Theme that dances with a high register twinkling effervescence, which perfectly establishes the diminutive people of this realm. At 0:48 there is an intensification of the melody and descent into the middle registry as Lemuel makes his appearance and startles them. We close as we began with the theme returning to the upper register and propelling their flight. In “The Duel” the police arrive to arrest Gwendolyn and her father, which leads to a sword fight. Herrmann supports the fight with ever shifting kinetic phrases of the Lilliputian Theme, which propel the fight with a sparkling energy. When Lemuel moans they all flee to summon the army. Lemuel wakes to discover he is tied down with hundreds of ropes and surrounded by armed troops. A debate erupts between the ministers as to whether to shoot him or not. Lemuel calmly tries to reassure them that he is a gentle and good man, who should be trusted and set free. The debate ends in “The King’s March”, a score highlight, as we see a grand imperial procession that brings the Emperor. Herrmann supports his arrival with a youthful toy march replete with woodwinds animato, faux horns militare, bells and prancing strings. The music is kindred to the Lilliputian Theme, and emotes with the same delightful lightness of being.

“The Clouds” offers a purely textural cue emoted by a twinkling xylophone and celeste that support the arrival of dark clouds from which descends rain. To gain the Emperor’s favor, Lemuel lets out two mighty blasts of air that dispel the clouds and bring back the warm rays of sunlight. The Emperor is pleased and orders Lemuel set free and to be fed. “Lemuel if Fed” reveals an army of men bringing kegs of beer, cooked game, baked bread and vegetables in an attempt to satiate Lemuel’s enormous appetite. Herrmann propels the scene with a spirited rendering of the Lilliputian Theme, which radiates shimmering energy. The music for this scene is not included in the album. In “The Trees” the ministers fret that Lemuel will deplete the kingdom’s food reserves. Lemuel responds by uprooting nearby trees and clearing the land of boulders so that it may be tilled and produce crops. Herrmann supports his efforts with a formal danza maestoso, which joins in perfect confluence with Lemuel’s efforts. Yet in “A Hatful of Fish” the ministers fret that there is not enough game on the island to feed Lemuel. He grabs his had dips it into the sea and brings forth a bounty of fish, which he drops to the thankful people below. Herrmann supports Lemuel with the energy and spirit of a classic hornpipe dance “The Oath” reveals the Emperor commanding that Lemuel take the oath of fealty so as to become a loyal citizen of Lilliput. Herrmann supports the ceremony with shimmering ethereal violins and bells, which create a heavenly ambiance.

In “Lemuel Despairs” the emperor conditions the building of Lemuel’s boat with he agreeing to destroy the Blefuscu. Lemuel declares he is a healer, not a murderer, however the Emperor is emphatic and will not relent. Lemuel allies himself with Reldresal whom he will support for Prime Minister against Flimnap, and resolves to bring peace between Lilliput and Blefuscu. As Lemuel walks past his unfinished boat his mind turns to Elizabeth, whom he misses dearly. Herrmann supports the moment with an aching rendering of the Love Theme. This music is not included in the album. “The Castle” reveals the Emperor’s castle and Lemuel’s visit to witness Reldresal and Flimnap contest for the Prime Minister post. Herrmann supports the scene with a series of ever shifting nine-note declarations by fanfare reale. “The Tightrope” offers another score highlight, which showcases Herrmann’s mastery of his craft. We see the two men face off on a tightrope, which will determine who ascends to the Prime Minister post. As they each perform juggling and acrobatic leaps in an effort to outperform the other Herrmann energetically animates the contest with strummed harp, bubbling woodwinds animato, piano strikes, and muted horns in an impressive compositional display. After an amazing series of jumps by Reldresal, Flimnap answers, only to fall off and into the water at 2:24, supported by bleak horns and a descent motif.

“Reldresal Is Exposed” reveals him be awarded the Prime Minister post, only to lose it when Flimnap reveals that he is a traitor for hiding Gwendolyn and her father, who have earned the Emperor’s wrath for refusing to open their eggs by the small end. When Reldresal refuses to denounce them, he is sent to prison for execution the next day. Lemuel attempts to intercede but is rebuffed. As the Emperor departs, Herrmann reprises the King’s March joined by fanfare. This music is not found on the album. In “The Prison”, tremolo strings doloroso, joined by a forlorn clarinet and later flute support Reldresal’s imprisonment as Lemuel visits. When he hears that troops are searching for Gwendolyn, he asks Lemuel to assist him escape. As Lemuel breaks open the cell’s exterior stone wall at 0:25 the music gains urgency with a shifting sequential pattern that alternates woodwinds animato, bubbling horns and a string ostinato. At 0:53 a woodwind ascent carries Reldresal into Lemuel’s hand. “The Fight” reveals the Emperor and his troops attacking with Reldresal and Gwendolyn’s father hopelessly outnumbered. Herrmann propels the fight with energetic strings animato, bubbling woodwinds and horns blasts until Lemuel loses his patience and commands the fighting to stop. He promises the Emperor to end the war on condition that Reldresal be restored to Prime Minister, Gwendolyn and her father being pardoned, and his boat built. The Emperor agrees and Lemuel prepares to depart for Blefuscu.

“War March” offers a toy marcia militare, which supports the Lilliputian’s sending Lemuel off to war. At 0:46 the music softens as we see Lemuel swim out to sea as the Emperor cries out “Death to Blefuscu!” In “Naval Battle” the King Brob of Blefescu orders his grand armada to set sail and conquer Lilliput so as to force them to open their eggs from the large end. Suddenly, Lemuel rises from the water, startles the crews who all abandon ship by jumping overboard. A woodwind misterioso supports Lemuel’s rising from the water and a crescendo builds on snare drums, bubbling woodwinds, muted horns as he begins pulling the warships out to sea. At 0:43 the King orders his archers and catapults to fire, which are supported by snare drums and a shifting woodwind and horn ostinato. At 1:06 a diminuendo of despair unfolds as the King admits defeat. In “Lemuel the Hero!” Lemuel has scuttled the ships deep in the ocean and returned home to Lilliput a hero. A song “What a Wonderful, Wonderful, Wonderful Fellow is Gulliver” with lyrics by Ned Washington and music by George Dunning is sung by a large mixed adult and children’s chorus to support the Lilliputian’s joy. The Emperor then commends Lemuel on his victory and awards him Lilliput’s highest honor, the Medal of Mardac. As he accepts the medal muted toy horns resound to celebrate the moment. Yet the moment is lost when the Emperor commands Lemuel to return to Blefuscu and kill them all. Lemuel refuses and the Emperor departs angrily. This song and the fanfare are not included on the album.

“The Emperor Conspires” reveals his great consternation at Lemuel’s refusal of his order and plots with his ministers to have him killed. The Empress storms into the room and is outraged that they discuss killing their hero. Her fury subsides and she becomes enraptured when we hear Lemuel singing the romantic ballad “Gentle Love” with lyrics by Ned Washington and music by George Dunning. This song is not included on the album. In “The Fire” a fire starts accidentally and threatens to engulf the palace. Lemuel drinks a keg of wine and spits it out to douse the flames, but in doing so also sprays the Emperor and Empress. She is outraged and orders him killed for soiling her dress. Herrmann supports the fire ethereally with a perfect blending of twinkling bells, chimes, celeste, and xylophone, which ascend and descend exquisitely. A descent diminuendo supports the aftermath in the royal chambers. In “Escape” Reldresal and Gwendolyn warn Lemuel flee as the Emperor has ordered him killed for treason. When the Emperor arrives with his troops, Lemuel throws down his medal and rebukes him. The Emperor orders him killed and Lemuel flees the castle and runs to his boat with the army in pursuit. Herrmann supports the chase and Lemuel’s escape with the Lilliputian Theme energized as flight music.

“The Beach” reveals Lemuel awakened as his boat strikes the beach of an island. Forlorn horns and shimmering tremolo violins create a misterioso as he seeks water from empty kegs. As he looks inland, he sees a couple sitting on the beach with their backs turned towards him. He races to them only to discover that they are dolls. In “The Shadow” a massive shadow engulfs him. He looks up and discovers to his horror a girl who is a giant. He flees and cowers terrified in his boat. Swaying grim horns resound, joined by low register woodwinds, that rise and fall, sowing fear with their repeating phrasing. We close darkly at 1:21 as the girl lifts up the boat, and Lemuel looks down at the now distant beach below. As we see the girl depart the scene ends with a diminuendo of uncertainty. “Reunion” sustains the swaying phrasing of the previous cue as Glumdalclitch presents Gulliver to the King. He rewards her with gold, but she refuses, insisting that she keep him. Subsequent offers of his many animals are also rejected. He solves the impasse my making her his ward and allowing her to live at the palace where she can tend to Gulliver. At 0:26 a solo oboe delicato ushers in an exquisite extended rendering of the Love Theme as the scene shifts to the doll house and we see Lemuel reunited with Elizabeth. They embrace and kiss, each so happy to be together again. Yet at 1:13 tension enters as Glumdalclitch looks in the window and startles them.

After Glumdalclitch departs for bed in “Duo” we are graced with a wondrous score highlight, which offers an extended rendering of the Love Theme as Lemuel passionately embraces and kisses Elizabeth. An impassioned ascent unfolds at 0:52 followed by a decrescendo as we see her recoil and run to her bedchamber, saying that they are not yet married. She bars the door yet he is determined to see her. At 1:28 the theme regains its ardor and passion as he calls to Glumdalclitch to wake the King so that they may be married. In “The Wedding” celeste provides a magical twinkling effervescence as the King marries them, draping their doll house with the royal license. “Nocturne” reveals the departure of Glumdalclitch and the royal court as we see the light in the dollhouse bed chamber go out. Herrmann supports the moment with a tender rendering of the Love Theme, which perfectly captures the beauty of the moment for our two lovers. In “The Woodland” our two lovers have escaped to spend their honeymoon in the countryside. As they discuss their future in this idyllic setting, where their every need is taken care of, Herrmann offers an exquisite rendering of the Love Theme by strings tenero with the melody transferred beautifully to a solo oboe tranquillo. They are happy together in their love, and the music speaks to this. Yet the moment is shattered as a large squirrel intrudes.

“The Squirrel” reveals a squirrel dragging Lemuel to its burrow and dropping him in. He tries to climb out, but cannot, and Elizabeth cowers behind a tree terrified. Herrmann effectively evokes terror by offering a menacing exposition of the Brobdingnags Theme empowered by low register woodwinds and repeating descent phrases by strings sinistre, countered by syncopated grim horns, as well as guttural contrabass tuba. At 1:03 Glumdalclitch arrives and tries to reach down the hole but her hand is too big. Herrmann uses ascending orchestral bursts to raise the tension. She then lowers he pony tail into the hole and Lemuel is able to grab onto it and is pulled up to safety, supported by a hopeful ascent motif. Glumdalclitch chastises them for leaving and states that she has to take them back to the castle. They agree and are returned to the King and Queen. In “The Chess Game” Lemuel explains why they left and asserts that he can independently take care of Elizabeth. When he counsels the alchemist Makovan against his chess move, the King is intrigued and invites him to assume Makovan’s position. Herrmann sows tension simply by utilizing a repeating grim four note construct with a counter by muted horns sinistre. After two moves Lemuel wins the game to the King’s great consternation as he slams his fist down an upends the board.

When Lemuel cures the Queen of a stomach ache, he provokes jealousy from the King and enmity from Makovan who is exposed as impotent in the Queen’s eyes. “Alchemy” reveals Makovan acting on the King’s order to expose Lemuel as a witch, so he may be burnt at the stake. Glumdalclitch brings him to Makovan’s laboratory and is told to leave and play with his daughter. Herrmann supports Makovan’s diabolical designs using a similar method of the previous cue. This time grim low register woodwinds offer a repeating three-note phrase with a counter by muted horns sinistre. Menacing strings and contrabass tuba join to inform us of Lemuel’s peril. As the men converse Makovan is impressed by Lemuel’s knowledge of alchemy. Before he can act however, he hears the girls screaming, runs to the window and sees them fighting on the ground. He departs the laboratory to end the fighting. “The Girls” reveals the two girls fighting supported angrily by an aggressive low register string ostinato, churning woodwinds barbaro and dire muted horns. Makovan breaks them up and sees to his daughter as Glumdalclitch runs into the lab.

“Lemuel Versus Makovan” When Glumdalclitch informs him that Makovan intends to turn him blue, which will prove he is a witch, Lemuel alters the composition of the two bowls of liquid so as to turn himself red. Makovan returns, orders him to bath in both bowls, and is stunned when Lemuel turns red. Makovan is enraged when Lemuel explains how he foiled him, and imprisons him as a witch. He is brought to the King who orders him executed, though he promises mercy if he confesses. At Elizabeth’s insistence he confesses and Makovan demands that this proves he is a witch and must be executed. The King reneges on his word, but has a different manner of execution in mind than burning at the stake. These pivotable scenes are unscored. “The Crocodile” offers an amazing score highlight, one that is brilliantly conceived and executed. It reveals the King’s diabolical plan for execution – Lemuel will battle his prized miniature crocodile. Herrmann energizes the fight with a scherzo animato replete with pizzicato strings, vibraphone, bubbling woodwinds and muted horns sinistre. Lemuel manages to obtain a latch pin from a jewelry box, which he uses as a sword. After several close call he manages to thrust it into the beast’s throat and slays it. This convinces Makovan even more that he is a witch, and he demands that he be burned at the stake..

Pursuit” offers another score highlight where Herrmann excels with dynamic, ever shifting flight music. Glumdalclitch grabs Lemuel and Elizabeth, places them in her wooden sowing basket and flees with them determined to save her friends. The King orders a pursuit and the chase is on. We open with monstrous timpani empowered marcia dall’inferno, which drives forth with relentless fury. A dark sustain at 1:08 supports Glumdalclitch falling and our two lovers spilling out. They decide to flee on foot and leave Glumdalclitch behind. When the King arrives, she refuses to disclose their location and they set out looking below to find them. An intensification by staccato horns and thunderous timpani, countered by rapid fire staccato trumpets, raises anxiety as we see them closing on Lemuel and Elizabeth. At 2:11 the King orders the grass set aflame to burn them out, which Herrmann supports with a new construct of high register woodwinds, some of which are trilling, chattering trumpets, xylophone, gongs and chimes. At 3:12 an aggressive low register construct drives forth with menace as the King and his soldiers close in. Lemuel and Elizabeth end up cornered by a stream, only to have Glumdalclitch race in, place them in the basket and then fling it into flowing waters of the stream. Herrmann whips his orchestra into a frenzy, a raging torrent as the King and his men are unable to reach the basket as it nears the sea. We crest powerfully at 4:17 as the King hurls a large rock from a bridge, which narrowly misses the basket, which reaches the sea safely. A diminuendo of uncertainty closes the scene as they float out to sea. At 4:32 ethereal strings support our two lovers waking up on a beach, with the now small sowing basket bobbing in the surf.

“Happiness” reveals Lemuel declaring that he now understands that the pettiness of Lilliput and ignorance of Brobdingnag reside in everyone and that we must acknowledge this and do our best to overcome it. When Elizabeth asks about Glumdalclitch, Gulliver smiles, gives her a reassuring look, and says that she has yet to be born. At this point they embrace, kiss and we are graced with a final tender reprise of the Love Theme. In “Finale” they come upon a man on the beach and ask of England. He says this is England and that Wapping is on the other side of the ridge. They are ecstatic and run to return home carried by a danza gioiosa. As they run towards the cabin, the English Theme resounds to support the end of the film, closing with a grand flourish.

I would like to praise Robert Townson for this magnificent re-recording of Bernard Herrmann’s masterpiece, “The Three Worlds of Gulliver”. The audio quality is excellent and the performance of the Royal Scottish National Orchestra under Joel McNeely’s baton, superb. This film was a passion project for Herrmann as he was delighted that he would be able to indulge his longstanding love of English music from the Georgian Era. We hear a side of Herrmann that is rare and delightful as he perfectly captures the sensibilities of the Georgian Era with pride and pomp of his English Theme, and the various dances, which grace the film. His conception to use the same theme for both the Lilliputians and the Brobdingnags was brilliant, and his execution a masterstroke. By changing the instrumental emphasis, he was able to capture the nature and sensibilities of both lands. He chose the upper registry for his fanciful Lilliputian Theme, which perfectly captured the spirit of these diminutive people, emoting with an incredible lightness of being, carried by bubbling woodwinds, bells, celeste, xylophone and harp. While the dour Brobdingnags Theme is much heavier, darker and carried by low woodwinds, strings sinistre, grim horns and guttural contrabass tuba. Where the score achieves its zenith however is the Love Theme, perhaps the finest in his canon. Its yearning and aching romanticism achieve a sublime confluence for our lovers, enhancing every scene in which it is heard. I cannot overstate that this score affirms yet again Herrmann’s mastery of the fantasy genre. It was brilliantly conceived and masterfully executed, enhancing scene after scene, and allowing the creative team of Schneer and Harryhausen to realize their vision. I consider this score a gem from the early Silver Age and one of Herrmann’s most creative works. I highly recommend you purchase this outstanding album for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to the rousing Overture: https://www.youtube.com/watch?v=rd9BnSaMLrE

Buy the Three Worlds of Gulliver soundtrack from the Movie Music UK Store

Track Listing:

  • Overture (1:56)
  • Minuetto (1:39)
  • The Lovers (0:48)
  • Trio Refrain (0:26)
  • The Old House (0:55)
  • The Ship (0:48)
  • The Storm (0:45)
  • The Lilliputians (1:38)
  • The Duel (1:17)
  • The King’s March (1:32)
  • The Clouds (0:37)
  • The Trees (1:36)
  • A Hatful of Fist (1:10)
  • The Oath (0:57)
  • The Castle (0:47)
  • The Tightrope (2:40)
  • The Prison (1:20)
  • The Fight (0:44)
  • War March (1:10)
  • Naval Battle (1:29)
  • The Fire (1:38)
  • Escape (0:44)
  • The Beach (1:15)
  • The Shadow (1:53)
  • Reunion (1:27)
  • Duo (2:21)
  • The Wedding (0:19)
  • Nocturne (1:18)
  • The Woodland (1:13)
  • The Squirrel (1:48)
  • The Chess Game (1:59)
  • Alchemy (1:29)
  • The Girls (0:43)
  • The Crocodile (1:53)
  • Pursuit (4:49)
  • Happiness (0:41)
  • Finale (0:51)

Running Time: 50 minutes 35 seconds

Varese Sarabande VSD-6162 (1960/2001)

Music composed by Bernard Herrmann. Conducted by Joel McNeely. Performed by The Royal Scottish National Orchestra. Original orchestrations by Bernard Herrmann. Recorded and mixed by Jonathan Allen. Score produced by Bernard Herrmann. Album produced by Robert Townson.

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