Home > Greatest Scores of the Twentieth Century, Reviews > THE THIEF OF BAGDAD – Mortimer Wilson

THE THIEF OF BAGDAD – Mortimer Wilson


Original Review by Craig Lysy

In 1922 actor Douglas Fairbanks decided to move beyond his usual comedic films to take on the heroic role of Robin Hood. He enjoyed the role and was rewarded as the film ended up being a stunning commercial and critical success. Now emboldened, he decided to take on another swashbuckler hero based on the iconic epic ancient tale “The Thief of Bagdad”. This was a passion project and he used his own production company, Douglas Fairbanks Pictures, to finance production. He took personal charge of production, allocated an unprecedented $1.136 million budget, and also wrote the story on which the screenplay was based. Raoul Walsh was tasked with directing, and Achmed Abdullah and Lotta Woods were hired to write the screenplay. Fairbanks would star in the lead role as Ahmed, The Thief of Bagdad supported by Snitz Edwards as His Evil Associate, Charles Belcher as Iman The Holy Man and film narrator, Julianne Johnson as The Princess, Sojin Kamiyama as Cham Shang, and Anna May Wong as The Mongol Slave.

The story is set in Bagdad during the reign of the Harun al-Rashid Caliphate 786 – 809 C.E. The story follows the adventures of the dashing, brash and unrepentant Ahmed the Thief. During one of his many thefts in the palace he comes across the princess and falls in love. He wins her heart, but also the wrath of her father who forbids marriage. The princess connives a way for he to legitimately win her hand by getting her father to agree that all her suitors bring her a gift after seven moons and that she would select the one who brings her the rarest. Well after many adventures Ahmed returns with a magic carpet, a clock of invisibility and a chest of magic powder, which allows him to defeat the Mongols and liberate the city. A thankful Caliph grants Ahmed the right to marry the princess and they all live happily ever after. The film was a commercial success, earning a profit of $354,000. Critical reception was universally positive and today the film is considered one on the finest of the Silent Film Age. The film pre-dates the formation of the Academy of Motion Pictures awards.

Douglas Fairbanks was very much impressed by American classical composer Mortimer Wilson’s 1919 work “Silhouettes From The Screen, Opus 55,” which included a movement specifically dedicated to him. In an audacious move he commissioned Wilson to write a musical score for his 1920 film The Mark of Zorro, and when that was a success he invited him back for The Thief of Bagdad, providing him the instructions “Make your score as artistic as you can and don’t feel that you have to jump like a banderlog from one mood to another at the expense of the development of your musical ideas”.

Fairbanks and Wilson closely collaborated and he was provided unprecedented access throughout shooting and rehearsals from which he drew inspiration. And took extensive notes. Two primary themes underpin the score, supported by a number of scenes set pieces. Ahmed’s Theme offers the score’s primary theme as this film is really Ahmed’s tale. It repeating, seven-note phrasing, which Wilson manipulates to express a multiplicity of emotions ranging from heroism to mischievousness. During the film the acrobatic Ahmed is at once endearing, mischievous, irrepressible, alluring, and heroic. The sumptuous Love Theme embraces the sensibilities of the Romantic Era of classic music. It emotes full of longing by yearning strings, which speak of love’s ardent desire. Wilson uses instrumentation to reflect the romantic perspectives of the Princess and Ahmed, with her perspective being string borne, while his is horn borne.

“Prelude” offers a magnificent score highlight, which abounds with a presentation of Wilson’s primary themes. It is a concert piece, an overture composed to play prior to the film, which would set the tone for the audience’s cinematic experience. We open grandly with Ahmed’s fanfare, which ushers in at 0:12 the sumptuous Love Theme, which embraces the sensibilities of the Romantic Era of classic music. It is sumptuously written and empowered by yearning strings, which speak of love’s ardent desire. The transfer of the melodic line to trumpet at 1:03 was unexpected, yet beautifully performed. I interpret this trumpeting form as emoting from Ahmed’s perspective. At 1:49 we segue into a tender, if not playful musical narrative with comedic accents, which speak to Ahmed’s mischievous thieving ways. At 2:45 we segue atop muted horns into Ahmed’s Theme, a repeating six-note construct abounding with optimism and heroism. The transfer of the melodic flow to woodwinds, and then strings is well-conceived. When the melody returns to confident trumpets animato it assumes a vigorous, free-flowing dance-like narrative flow that is just wonderful. This in turn shifts to a dramatic form, which speaks to the obstacles Ahmed must overcome to win the hand of the Princess. At 4:01 a diminuendo usher in a sad musical narrative with 4-4-7 phrasing, which speaks of the Princess’ anxiety regarding Ahmed’s safety and desperate longing for his return. At 4:41 a heroic musical narrative surges atop horns trionfanti, an emblem of our hero Ahmed. We conclude at 5:47 with a grand, and lush exposition Love Theme, which concludes beautifully.

“The Holy Man” begins the film proper where we see a holy man counseling his young apprentice, pointing aloft to the star lite sky, which bears a message; “Happiness must be earned”. The scene offers a woodwind lover’s dream come true, a nocturne with a wondrous musical narrative full of tenderness, and the wisdom of the ages as the boy’s gazes at his sage master. A script interlude first gives praise to Allah the beneficent, followed by a quote from “The Arabian Nights”, which offers a warning to pay heed to the mistakes made by men in the past. “A Street in Bagdad” offers a wonderful energetic score highlight. It reveals a bustling street of merchants and people in Bagdad, which Wilson supports with free-flowing gentility grounded by a percolating bassoon. At 0:45 somnolent strings support Ahmed asleep on a platform above a water fountain. He pick-pockets a noble who soon discovers he has been robbed, and confronts Ahmed. A spirited, vivacious musical narrative unfolds propelled by strings animato as the two men argue and fight for the money purse. Guards intervene and Ahmed slyly wins ownership much to the noble’s outrage.

“Hunger” offers another score highlight, which abounds with a playful musical narrative bubbling with life. Ahmed smells food cooking from a balcony and comically scales its height to indulge himself. Wilson provides a playful, light-hearted and an ornately orchestrated passage to support his audacious theft. At 1:57 the music down shifts gears and embraces mischievousness when Ahmed observes a fakir performing amazing tricks below. “The Magic Rope” offers a score highlight, which embraces Orientalism. It reveals the fakir producing a magic rope, which rises upward to great heights, much to Ahmed’s amazement. Wilson speaks to this musically, offering a sense of wonderment. At 1:59 trumpets of alarm sound as the cook comes out a discovers Ahmed’s thievery, forcing him to flee to safety by jumping onto the rope supported by his theme rendered by woodwinds animato. The fakir is displeased, recalls the rope and Ahmed plummets to the ground. At 2:18 strings spiritoso and bubbling woodwinds animato propel a fight between the two men over the rope. At 2:48 a diminuendo ushers is a refulgent musical narrative as the midday call to prayers distracts the fakir, allowing Ahmed to abscond with the rope. We close with him using the rope to ascend to a Mosque window and escape within.

“The Mosque” offers an exquisitely beautiful cue, which opens with a demur Ahmed’s Theme on strings. As we see the Iman preaching below Wilson supports with a lyrical musical narrative borne by strings tenero with metallic and harp adornment, which is very moving. Discord enters at 1:47 when Ahmed publicly rejects not only the sermon, but also Allah, much to the outrage of the men in attendance. In “The Thief at Work” Ahmed witnesses and recoils at the horrific flogging of a jewel thief. Music enters as a scherzando to support him pick-pocketing the nobleman of his prized jewel. At 0:47 a proud march full of satisfaction supports Ahmed’s departure with the coveted jewel. “Bird of Evil” reveals Ahmed descending into the labyrinth of tunnels under the city where lies his lair. A soft, pizzicato strings propelled line carries his descent. He greets his partner in crime the “Bird of Evil” and at 0:48 proceeds to unload his booty supported by a comic-playful passage as he handstands and shakes out all the coins and jewels he stole.

“The Palace at Ho Sho” reveals a shift east to the palace of the Mongol prince who covets the wealth of Bagdad. A menacing musical narrative full of dark purpose supports his declaration of “What I want, I take”. At 1:09 sumptuous strings romantico usher in the Love Theme when the prince is advised that the Caliph will entertain suitors for the princess’ hand at the next Moon. We close at 2:04 with menace and uncertainty as the prince prepares for his departure. In “Open Wide the Gates!” grand fanfare dramatico declarations support a porter shouting out to open the gates so suitors of the princess and their gifts may enter the palace. As the caravan enters Wilson supports with a processione esotica. At 0:57 Ahmed’s Theme joins and entwines with the processional as he and the Bird of Evil seek to infiltrate the palace posing as members of the caravan. A spirited and playful string borne passage supports their efforts. We end with a frustrated Ahmed’s Theme as their efforts are thwarted by the palace guards.

Later that night Ahmed enters the palace second floor thanks to the magic rope. “Eunuchs” reveals him sneaking past sleeping eunuchs, stealing their key, and opening a chest full of jewels. Wilson offers the twelve-note, playful comic Eunuch Theme to support Ahmed’s audacious thievery. “The Princess Sleeps” reveals Ahmed drawn to music played in the adjoining room where musicians play to induce the princess to sleep.

When he enters and sees her, he discovers a greater treasure. Wilson provides an elegant danza romantico to support the fateful scene of discovery. “The Bed Chamber” offers a romantic score highlight revealing love’s awakening. As Ahmed gazes at her, he becomes a prisoner of love, his heart taken captive by her beauty. Wilson supports with an exquisite, lush rendering of the Love Theme by strings romantico as love blossoms in Ahmed’s heart. In “The Princess Aroused” Ahmed’s touch awakens the princess who sounds the alarm as he hides under a comforter at the base of her bed. All but the Mongol slave depart when no one is found. A playful, rhythmic musical narrative supports. At 0:31 horns of discovery sound entwining with an aggrieved Love Theme as the Mongol slave discovers Ahmed, who convinces her at knife point to remain silent. He returns to the bed, takes one of her slippers supported by interplay of his theme and the Love Theme. Comedic playfulness joins to support his acrobatic jump out the window to rejoin the Bird of Evil below after the Mongol slave raises the alarm

It is dawn and the court herald announces the birthday of the princess to the cheering crowd below. Later in her chambers a rose appears in a soothsayer’s sand dish, which portends that she will marry the suitor who first touches the rose tree in her garden. “Love Bird” reveals Ahmed and Bird of Evil climbing a tree, which overlooks the princess’ chamber. Ahmed’s heart remains captive and Bird of Evil suggests capturing the princess with a sleeping potion. Wilson weaves a playfully, comic musical narrative with interplay of Ahmed’s Theme and quotes of the harp draped Love Theme. “The Prince of the Indies” reveals the arrival of the suitors at the palace, led by the imperious Prince of the Indies, which Wilson supports with a processione grande. She is relieved when he passes by the rose tree without touching it. Next the short and corpulent Prince of Persia arrives and the princess recoils, yet is relieved when he too passes by the rose tree. Ahmed, at Bird of Evil’s coaxing goes to the town bizarre and steals an ornate princely outfit so he may enter the palace as a suitor. “Cham Shang The Great” reveals a film-album variance as the album does not contain music for Cham Shang’s palace, instead offering an animated, playful and mischievousness musical narrative supportive of Ahmed’s and Bird of Evil’s thievery. For the palace scene Wilson bathes us in regal Oriental auras as we see the great Mongol king at his opulent court.

Prince of the Isles” offers a splendid romantic score highlight. A muted trumpet declares Ahmed’s Theme as he arrives, and is formally announced, ‘Prince of the Isles, of the Seas, and of the Seven Palaces’. The Mongol Prince is told by the Mongol slave girl to also pick a rose from the tree but Ahmed beats him to it after his horse bucks, he falls into the tree and plucks a rose from its branches. He then pours the sleeping potion over it and then climbs a trellis to the princess’ balcony, where he offers the rose. The princess is ecstatic and declares the prophecy fulfilled. Wilson supports with an extended romance for strings with woodwind adornment, which unfolds as the princess falls in love with this handsome prince after he gifts her a rose and they kiss. The following scene does not seem to have music on the album. It reveals that upon the Caliph’s orders, the princess bestows a betrothal ring to the suitor of her choice, which is Ahmed. The Caliph and suitors then depart for a grand feast. In “Hunt Him Down” the Mongol slave recognizes Ahmed as a thief and the Mongol Prince exposes his trickery to the Caliph, who orders him hunted down so he my render punishment. Wilson’s gentile music would seem to support the garden scene where the princess’ slave retrieves him and bring him to her.

In “Less Than a Slave” Ahmed returns the ring to the princess and reveals his deception. She will have none of it, declares her undying love for him, and returns the ring to him, which Wilson supports tenderly with woodwinds romantico. At 1:04 dire gongs and drums support Ahmed’s capture by guards who bring him to the Caliph. A grim musical narrative full of foreboding unfolds as Ahmed confesses his duplicity, which evokes the Caliph’s ire. He is ordered to be flogged and then tossed to his aggressive ape. As he his brutally flogged the princess writhes in pain outside. Ahmed is saved and escapes when the princess buys off the guards with her pearls. “She Shall Choose Again” reveals the Caliph ordering the princess to choose again, which Wilson supports with horns reale and court pomp and circumstance. Yet when she refuses, he declares that he will choose for her and she fears all hope is lost. At 0:44 the musical narrative softens when she buys time by convincing her father to command each suitor to seek and bring back the rarest of treasures, by the seventh moon. She would then select which treasure wins her hand. At 1:25 solo flute delicato and strings tenero reveal that the Caliph has agreed to her request, which will allow Ahmed to win her hand.

“The Quest Begins” reveals the suitors departing in search of a rare treasure supported by a spritely procession. The music softens atop woodwinds delicato at 1:32 and is tinged with sadness as a dejected Ahmed seeks out the counsel of the Holy Man. He counsels Ahmed to seek a silver chest, which contains the greatest of magic. The Holy Man then leads Ahmed to the city gate to begin his quest. We close with Ahmed slicing the princess’ ring in two with a request that the Holy Man deliver the other half to the princess. At 2:07 Ahmed’s fanfare resounds as he departs in search of his destiny. “A Caravansary in the Desert” reveals the three suitors traveling together and pledging to meet once more at this local caravansary after the passing of the sixth moon. Wilson supports softly with gentile and rhythmic travel music. In “The Mountains of Dread Adventure” a hermit warns Ahmed that searing flames and formidable monsters bar his path. To protect Ahmed on his quest, he gifts him a talisman and counsels him to find the Cavern of Enchanted Trees, and then touch the central tree with it. Wilson supports a misterioso, joined at 0:32 by a quote of Ahmed’s Theme as he departs.

“The Valley of Fire” reveals script stating “The First Moon” as we see Ahmed struggling across a valley consumed by flames, an blazing inferno beset by fire storms. Wilson supports his boldness and determination with a dramatic musical narrative, which ends when he safely passes through to reach a thirst-quenching water sprout. “The Flying Carpet” reveals script stating “The Second Moon” as we see the servants of the Prince of Persia purchasing the rarest of gifts – a flying carpet. We open with a soaring musical narrative abounding with delight as the prince receives his wondrous gift. Woodwinds delicato carry his departure and we close on a drum roll, which takes us seamlessly into script stating “The Third Moon” as we see Ahmed enter “The Valley of the Monsters”. He is carried forthrightly by horns bravura and strings animato as he bravely battles and slays a ferocious fire-breathing, horned dragon. At 0:25 bubbling woodwinds of delight and strings felice carry him to the entrance of the “Cavern of the Enchanted Trees”.

In “The Cavern of the Enchanted Trees” Ahmed uses the talisman to obtain from an enchanted tree a map that will guide him to “The Old Man of the Midnight Sea”. Wilson supports with a warm and tender rendering of Ahmed’s Theme. At 0:44 frenetic woodwinds and strings animato support Ahmed fighting, and slaying a giant bat, which guards the path forward. “The Magic Crystal” opens with script stating “The Fourth Moon” as we see the Prince of the Indies arrive at the forgotten idol of Kandahar. He dispatches a servant to climb and retrieve the eye gemstone for his gift. As the servant climbs an energetic musical narrative crowned at 0:38 with a gong clash as he reaches the eye. We close with a misterioso as he uses his dagger to cut out the shimmering gemstone. Yet he slips and falls to his death and we close on a drum roll as the prince retrieves the gemstone from the servant’s tunic.

“The Depths of the Midnight Sea” offers a score highlight. It reveals script stating “The Fifth Moon” as we see Ahmed sailing on a restless sea at night with the Old Man of the Sea. He tells him to dive for an iron-bound box, which contains a star-shaped key. Wilson supports by speaking to the beauty and wonder of the underwater realm, offering an idyllic musical commentary. He finds the chest, opens it to obtain the key, and at 0:49 danger intrudes as he battles and slays a sea monster who attacks him. Seductive Sirens of the deep then lure him to their realm hoping to trap him. Yet at 1:25 the Love Theme returns as his ring reminds him of the princess and he departs, swimming back to the surface. In “The Abode of the Winged Horse” the Old Man advises Ahmed that he must climb to the Abode of the Winged Horse and use the key to gain entry. We see Ahmed climbing the ramparts of the castle through clouds, until he reaches a staircase to the top. He enters the stable, mounts the winged horse and then soars gloriously into the starlite skies. Wilson’s music enters triumphantly with Ahmed’s winged flight propelled by a heroic rendering of his theme.

“The Island of Wak” reveals script stating “The Sixth Moon” as we see the Mongol prince returning to the Island where his court magician says lies a secret shrine, which holds a magic golden apple. Spritely strings and woodwinds buttressed by horns support the prince’s arrival and dispatch of his magician to the shrine. At 0:55 horns usher in a misterioso as we see the magician slowly make his way to the shrine. At 1:37 ominous horns portend danger and sow tension as he reaches the shrine entry and prepares to enter. “The Magic Apple” offers a wonderful score highlight. It reveals the magician cautiously entering the shrine carried by refulgent strings as he beholds the shimmering apple. Wilson builds tension and suspense as the magician grabs the apple and departs. At 1:10 strings tristi offer an elegy to support the prince’s order to kill a fisherman with a snake bite so he may test the power of the apple. The man dies and the magician waves the apple over his corpse. At 1:41 a crescendo brilliante heralds the man’s return to life, cresting magnificently as he wakes. We close with the prince ordering that the princess be poisoned so he can rescue her with the apple and gain the throne.

“The Citadel of the Moon” reveals Ahmed arriving at the cloud swept citadel propelled by a heroic rendering of his theme. The rousing music is sustained as he dismounts and climbs an enormous staircase to reach the chamber of the magic chest. Along the way ghost-like apparition of a man informs him that the chest is hidden by a cloak of invisibility. At 0:44 a diminuendo supports his entry into the citadel chamber. Swirling strings spiritoso support his exploration and discovery of the cloak of invisibility, which he removes to reveal the magic chest. “Poisoned” reveals script stating “At the end of the Sixth Moon” as we see the Mongol slave pour a sedative into the incense burner, which renders the princess unconscious. She then places the poison tablet in her mouth. A flute animato dances to and fro creating an idyllic ambiance as the princess dreams of Ahmed. At 0:47 the music darkens as the Mongol slave performs the nefarious act and the princess slowly passes out.

“Which Gift is Rarest” reveals the three princes meeting as agreed after the Sixth Moon at the caravansary. Wilson provides a playful musical narrative to support as they compare their gifts. At 0:36 ascending horn declarations support the magic crystal’s revelation that the princess is dying. We conclude at 0:54 with a marcia enfatico as they collectively mount the flying carpet and fly to Bagdad. In “Bide Your Time” the three princes arrive at the palace. An oboe tenero leads a retinue of woodwinds in a gentile passage as the Mongol prince passes the magic golden apple over the princess and she is revived. In the following unscored scenes, Ahmed returns atop the winged horse to the Hermit, who counsels him on the powers afforded by the magic chest. He conjures up a horse, then resplendent clothes befitting a prince, and lastly, a loaf of bread as he is hungry. Ahmed then rides off for Bagdad. In Bagdad the three princes argue over who has brought the rarest of gifts. The Caliph declares that it is up to he alone to decide which gift is rarest. The princess interjects that all three gifts are dependent on the other and in the end, each is useless without the others. The Mongol prince’s counselor whispers to him that he should bide his time as they have twenty thousand troops in the city ready to strike.

“The Magic Army” reveals that later that night the Mongol prince orders his men to seize the city and secure the palace. Strings dramatico and dire horns propel the Mongol attack, joined by aching strings as the Caliph, and two princes are taken prisoner and promised death in boiling oil, while the princess is told to prepare for her wedding. At 0:45 woodwinds giocoso support Ahmed’s arrival at the city gates and his audacious demand that they open it for him. After the guard derides him with laughter, Ahmed conjures up a massive army, which causes the Mongols to flee in panic while the people open up the city gates. The Mongol slave convinces her prince to save his life by fleeing with the princess on the magic carpet as Ahmed enters the city stealthily wearing the cloak of invisibility. Wilson propels the retaking of the city with a spirited musical narrative brimming with optimism.

We conclude with “Happiness is Earned”, a score highlight as Ahmed is alerted by a place slave that the Mongol prince is about to escape with the princess on the flying carpet. Wilson launches atop horns eroica an inspired musical narrative as Ahmed dons the cloak of invisibility, enters the palace and rescues the princess. At 0:26 the Love Theme blossoms with celebratory joy as we see the thankful princess in Ahmed’s arms. The theme is sustained as we see the Caliph and two princes released, while the evil Mongol prince is strung up for public ridicule. Wilson concludes with a heart-warming “happily ever after” passage as we see Ahmed and the princess fly away over cheering crowds, the film ending with our lovers in a kissing embrace.

I would like to thank Philipp Knop and First Hand Records for this premier release of Mortimer Wilson’s long coveted score to “The Thief of Bagdad”. The score reconstruction by Mark Fitz-Gerald is exceptional, and the performance of the Frankfurt Radio Symphony under his baton, superb. The state-of-the-art 24bit, 48 kHz recording offers excellent audio quality and provides a wonderful listening experience. Douglas Fairbanks’ audacious move to hire composer Mortimer Wilson to provide a musical score for his film, with latitude to fully express musical artistry and development of his musical ideas was an artistic masterstroke, which in every way enhanced his film. Wilson anchored the score and captured its emotional core with two primary themes; one for our dashing hero Ahmed, and a Love Theme for the ages. The rest of the score’s architecture was comprised with a number of concert style set pieces for specific scenes. Cues such as “The Magic Rope” and “The Mosque” offered exquisite compositions, while the opening “Prelude” is worthy of inclusion in any concert program. Folks, composing for silent films required a heavier lift than talky films as the composer needed to emote emotions normally conveyed by dialogue. I believe that in scene after scene Wilson found a beautiful confluence with Arthur Edeson’s cinematography, which allowed Raoul Walsh and Douglas Fairbanks to realize their vision. I believe this score to be of historical significance from the Silent Film Age, an exception effort by Mortimer Wilson, and highly recommend the purchase of this wonderful album for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to a twenty-one-minute suite; https://www.youtube.com/watch?v=nlWfv3GW4oE

Buy the Thief of Bagdad soundtrack from the Movie Music UK Store

Track Listing:

  • Prelude (6:30)
  • The Holy Man (1:08)
  • A Street in Bagdad (2:54)
  • Hunger (3:01)
  • The Magic Rope (3:10)
  • The Mosque (1:53)
  • The Thief at Work (1:14)
  • Bird of Evil (1:37)
  • The Palace at Ho Sho (2:16)
  • Open Wide the Gates! (2:44)
  • Eunuchs (1:04)
  • The Princess Sleeps (2:01)
  • The Bed Chamber (2:06)
  • The Princess Aroused (1:37)
  • Love Bird (2:37)
  • The Prince of the Indies (1:03)
  • Cham Shang The Great (2:08)
  • Prince of the Isles (3:21)
  • Hunt Him Down (1:01)
  • Less Than a Slave (2:58)
  • She Shall Choose Again (2:31)
  • The Quest Begins (2:19)
  • A Caravansary in the Desert (1:17)
  • The Mountains of Dread Adventure (0:50)
  • The Valley of Fire (0:42)
  • The Flying Carpet (1:22)
  • The Valley of the Monsters (0:41)
  • The Cavern of the Enchanted Trees (1:04)
  • The Magic Crystal (1:33)
  • The Depths of the Midnight Sea (1:42)
  • The Abode of the Winged Horse (0:52)
  • The Island of Wak (2:01)
  • The Magic Apple (2:39)
  • The Citadel of the Moon (1:16)
  • Poisoned (1:27)
  • Which Gift is Rarest (1:27)
  • Bide Your Time (0:48)
  • The Magic Army (1:51)
  • Happiness is Earned (1:58)

Running Time: 74 minutes 45 seconds

First Hand Records Ltd FHR-126 (1924/2022)

Music composed by Mortimer Wilson. Conducted by Mark Fitz-Gerald. Performed by the Frankfurt Radio Symphony Orchestra. Original orchestrations by Mortimer Wilson. Recorded and mixed by Lis Harnest. Score produced by Mortimer Wilson. Album produced by Philipp Knop.

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