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ANNA AND THE KING OF SIAM – Bernard Herrmann

September 5, 2022 Leave a comment Go to comments


Original Review by Craig Lysy

Margaret Landon wrote her 1944 novel Anna and the King of Siam based on the fictionalized diaries of Anna Leonowens, a mixed-race woman who claimed to have been the British governess to the children of King Mongkut of Siam. The novel became a public sensation, which caught the eye of 20th Century Fox Studios executive Darryl F. Zanuck. He purchased the film rights, assigned production to Louis D. Lighton, hired Talbot Jennings and Sally Benson to write the screenplay, and provided a generous budget of $2.2 million. John Cromwell was tasked with directing, and a stellar cast was assembled, including; Rex Harrison in his Hollywood debut as King Mongkut, Irene Dunne as Anna Owens, Linda Darnell as Tuptim, Lee J. Cobb as Kralahome, Gale Sondergaard as Lady Theiang, Tito Renaldo as Prince Chulalongkorn, and Richard Lyon as Louis Owens.

The story is set in Siam circa 1862 and explores the complicated relationship of Anna Owens, a British governess hired to tutor the children of the Siamese royal family, and Siam’s King Mongkut. She gets off on the wrong foot due to her lack of understanding of Siamese cultural traditions and sensibilities. Yet over time she wins the hearts of the Kings wives, his sixty-seven children, a develops a deep and trusted friendship with the king. She is instrumental in assisting the King resist efforts of imperialist European countries to establish a protectorate over the country, to which he is eternally grateful. Although an angry disagreement causes an estrangement between the two, the reconcile with the king on his death bed expressing his gratitude for all Anna had done for him and his family. The film was a commercial success, earning a profit of $1.3 million. Critics praised the film for its exotic storytelling and superb acting ensemble. It earned five Academy Award nominations for Best Supporting Actress, Best Screenplay, Best Film Score, winning two awards for Best Cinematography and Best Art Direction.

In early 1946 Alfred Newman, Director of Music at Fox, approached Bernard Herrmann and offered him the scoring assignment. Herrmann was ecstatic to take on the challenge and after some discussion they believed that the score needed to speak to, and embody the film’s exotic Siamese setting, musically blending oriental and occidental sensibilities. To that end Herrmann set out with a passion to research his musical approach, by searching countless bookshops for Siamese and Balinese music. Once sufficiently enlightened on the subject he set out as envisioned to blend the occidental sensibilities his orchestra with Siamese scales and timbre in gamelan form. Herrmann related;

“I tried to get the sound of Oriental music with our (western) instruments. The music made no attempt to be a commentary on, or an emotional counterpart of, the drama, but was intended to serve as musical scenery”.

I, like most critics believe this self-assessment is not accurate, finding rather significant emotional synergy during the film’s intimate, and final scenes. To support his soundscape Herrmann composed four primary themes, including the twelve-note Siam Theme, which supports the cultural and geographic identity of Siam. Written for horns, woodwinds and percussion Herrmann sought to imbue his soundscape with classic Orientalism, which captured the exoticness, wonder and mystery of Siam. Horns orientali, drums, and trilling woodwinds esotica adorned with xylophone bathe us in Siam’s mysterious and ancient auras. This grand main theme is pervasive and offers the essential, unifying thread binding the film’s musical tapestry. Lady Thiang’s Theme serves as the identity of the king’s estranged first wife, and mother of Crown Prince Chulalongkorn. A pervasive melancholia drapes the music, which flows with lyrical grace by violins doloroso, attended by a contrapuntal viola and celli line, and tender harp adornment. Tuptim’s Theme supports her identity as the king’s young, alluring concubine and offers a seductive musical narrative borne by woodwinds sensuale. Kralahome Theme supports the formal and austere prime minister. Low register grim woodwinds impart both mystery and menace, sowing fear and unease with his presence. As the relationship between Anna and him warms, gaining mutual respect, so too does the rendering of his theme. The Children’s Theme dances to and fro with vibrant and sprightly woodwinds, which supports their youthful exuberance. Of interest is how the score evolves from a Siamese dominant cool sense of detachment, to a more occidental dominant one of increased intimacy and warmth, which reflects the evolution of Anna’s relationship with the king. Cues coded (*) offer music not found on the album.

“Prelude” offers a score highlight, that perfectly sets the tone of the film with yet another brilliant Herrmann film opening. It supports the roll of the opening credits, displaying against a backdrop of the imperial city of Bangkok. Herrmann immediately establishes the orientalism of the setting with a dramatic rendering of his Siam Theme, which bathes us in the exoticness and mystery of the legendary kingdom. Divergent contrapuntal lines by horns austeri and chattering woodwinds animato propel the film’s forward momentum. At 0:57 a woodwind borne misterioso orientali unfolds as script informs us of an English woman accepting a teaching post in the imperial court of Siam. We close darkly, full of foreboding atop the Siam Theme as we read that a terrifying adventure awaits in this strange and half-barbaric country. “The Kralahome” reveals the arrival of the prime minister and his retinue. He introduces himself and then begins a series of very personal and probing questions, a Siamese cultural practice when meeting strangers, to which Anna takes offense. She declines his transport to the palace insisting her contract stipulated she would reside in a private house. Herrmann supports the scene with a full rendering of Kralahome’s austere theme interwoven with the subtle auras of the Siam Theme.

The next day in “The Street” Anna makes her way by foot to the palace through a bustling Bangkok Street. Herrmann supports with an amazing and vibrant passage of ever shifting Siamese auras borne by bubbling woodwinds animato. “Siam” reveals her entry past armed guards into the palace enclosure, adorned with ornate Siamese architecture. Her entry is supported by a grand and imposing declaration of the Siam Theme. At 0:21 a diminuendo of unease supports her and her son’s walk to a massive door. At 0:28 a woodwind and harp adorned misterioso esotica support her entry into a palace room filled with busy scribes. She asks to meet with Kralahome and is told to wait. After an interminable wait, Kralahome enters at 1:45 supported by his austere theme, which softly plays under the dialogue as Anna apologizes. She insists on speaking to the king to address her residence grievance. We flow seamlessly into “Wait” atop celli grave and the Kralahome Theme as he agrees to facilitate the meeting when the king’s schedule permits.

“The Almanac” offers a textural ambiance cue that supports Anna’s recording that another day passed in her almanac. The day has finally arrived for Anna and Louis to meet the king. “The King” reveals drums esotica supporting Kralahome’s escort to the throne room. As they enter at 0:12 a dramatic and austere declaration of the Siam Theme resounds. A foreboding Kralahome’s Theme joins with dark Siamese auras as he informs Anna that official audiences have been concluded and they will have to reschedule. She will not be put off and proceeds in over Kralahome’s objections. The king is impressed by Anna’s boldness, and lack of fear of him. He grabs her arm and pulls her along with him as we flow into “The Harem” carried by vibrant bubbling woodwinds animato. After revealing his harem, we segue into “The Children”, which reveals the king introducing his many children. Herrmann imbues classic gamelan orientalism with spritely woodwinds giocosi and soft percussion. The musical narrative is sustained in “The Teacher” as the king decides that Anna will not only teach his children, but also his wives. He pulls her and Louis back to the throne room at 0:13 and grim woodwinds reprise the foreboding dark Siamese auras as all present kowtow. The king declares his satisfaction with Anna and at 0:47 departs supported by refulgent woodwinds as Anna smiles with satisfaction at Kralahome.

“The Courtyard” reveals Anna and Louis traveling through the courtyard, which Herrmann supports with an idyllic musical narrative borne by woodwinds pastorale with harp adornment. At 0:28 the music darkens and becomes foreboding as they wait in the empty school patio. At 0:37 a playful reprise of the music from “The Children”, now carried by a spritely xylophone animato. At 1:20 the music again becomes grim as a furious King Mongkut rave against what he considers as a disparaging article about him in a British newspaper. When Anna attempts to assuage him by correcting his interpretation, he becomes outraged and cancels her class. We flow seamlessly into “Anger” as dire woodwinds and horns channel the Siam Theme as Anna and Louis depart in a huff, defying the king’s order to come back. “Fish Market” reveals Anna being escorted to her new house by command of the king. As they travel through the fish market, Herrmann carries their progress with an exotic musical narrative borne by bubbling woodwinds animato, chattering xylophone and horns orientali. At 0:25 the music darkens and becomes grim as she comes to a hovel located amidst the malodorous fish market. She is furious and departs in an angry huff.

“The First Lesson” reveals the opening day of school with the king commanding his children and wives to be diligent in their studies. Herrmann offers a gentile ethnic ambiance borne by woodwinds orientali with harp adornment. After the king has departed, Anna calls the class to order in “Pandemonium”, only to have the class erupt in chaos until Lady Thiang claps everyone to desist. The pandemonium is propelled by frenetic woodwind orientali chattering and xylophone animato. “Tuptim” reveals the king awaking in his bedroom and then departing to inspect today’s tributary gifts. Herrmann weaves a soft and subtle ambiance of pleasantry with a soliloquy by oboe delicato with harp adornment. At 0:44 he meets the beautiful Tuptim, youngest daughter of one of his governors and we see him take an instant liking to her. A fluttering flute delicato dances on the breeze like a butterfly as her theme is introduced. He departs and the music darkens ominously with a simmering anger at 1:30 when he comes upon a strange gift, a porcelain house with a caption; “A Man’s house is only less dear to him than his honor” – a rebuke offered by Anna. At 1:44 woodwinds have a fluttering ascent as he discovers the house was made in England. The king departs carried by a grim musical narrative. We conclude at the school with foreboding woodwinds orientali supporting food being served the king.

“Lost Cambodia” reveals Kralahome bringing the king bad news. He relates that his governor of Cambodia had betrayed him, by signing a treaty with the French, which assume governance over Cambodia, incorporating it into French Indochina. Herrmann sows a grim musical narrative full of ominous and foreboding orchestral textures as the two men discuss the commencement of the European dismemberment of Siam. Kralahome’s somber theme is pervasive throughout the scene. At 1:36 mystical strings create a religioso ambiance, which supports Kralahome’s counsel that perhaps the king’s best destiny was to have remained a monk at the monastery. In the end the king remains steadfast in his resolve to protect as much of Siam as he can against the superior strength of the Europeans. The scene ends with disconcerting uncertainty as the king reassures Kralahome of their friendship. Later, the king relents and bestows Anna a house to reside, but she rejects it when Kralahome takes her there, now preferring to remain in the palace. In “The Abduction” Anna is abducted by the king’s guards and brought to Kralahome. Grim, portentous strings support Anna’s evening stroll. At 0:16 violence erupts as she is forcibly abducted, the scene ending on a diminuendo of uncertainty. The rest of the scene is unscored as Kralahome successfully exhorts Anna to aid the king in understanding modernity so he may save his kingdom.

“The Letters” offer strings tenero and muted horn aural textures as Anna and the king begin a series of correspondences via letters as she reaches out to him, and he rebuffs. “Lady Thiang” offers a beautiful score highlight. Lady Thiang reveals that she is the mother of the crown prince, but no longer in favor with the king. Herrmann introduces Lady Thiang’s Theme, which offers a pervasive melancholia borne by the lyrical grace by violins doloroso, attended by a contrapuntal viola and celli line, and tender harp adornment. Lady Thiang presents as a sad figure, resigned to her estrangement from the king, and Herrmann’s music achieves a beautiful confluence with her story-telling. “2:00 AM” opens with woodwinds triste as Lady Thiang comes across her beloved son Crown Prince Chulalongkorn, who cannot speak to her as she is out of favor with his father. At 0:23 chirping woodwinds draped with metallic accents support Anna’s being awaken at 2:00 am and informed the king has summoned her. He asks her opinion of Moses’ foolish assertion that the world was created in six days. We close grimly with her dismissal after she asserts faith and science sometime vary answering the means, but not the ends.

“3:00 AM” reveals an aggrieved Anna walking back to her room supported by grim woodwinds. At 0:14 a twinkling, and mesmerizing motif dancing over dire low register strings and dire horns, which support her discovery of Lady Tuptim’s slave caring for a crying child. “Tuptim’s Slave” was dialed out of the film. It reveals Anna entreating Tuptim to release her slave so she and her child may join her husband. We open with a sad rendering of Tuptim’s Theme, which darkens, full of anger at 0:08 as she reveals her pettiness with a stern refusal. “The Pomegranate” reveals the king refusing to discuss Anna’s plea for the fate of Tuptim’s slave. She is dismissed and as she departs a dejected and sad musical narrative carries her exit. At 0:21 fluttering woodwinds of delight create an idyllic ambiance as Anna walks through the garden courtyard. At 0:41 Tuptim’s Theme supports Anna and her meeting. Tuptim has been presented with a beautiful gift from the king, which she reveals to Anna. She announces that the slave girl has been freed, and Anna is surprised as she relates the king would not allow her to discuss it. Tuptim realizes that the king acceded to Anna, not her and at 1:18 tremolo strings irato launch a crescendo of outrage, which erupts in anger as Tuptim smashes the glass gift and leaves.

“The Dresses” offers splendid contrapuntal writing for woodwinds esotica, which support Anna’s summons to the throne room, where the king demands that she outfits his most beautiful wives in European style dresses to impress the visiting British delegation. “The Hall of Women” reveals Anna outfitting several wives in British hoop dress fashion, which Herrmann supports with a meandering flute delicato, which dances to and fro. We flow seamlessly into “4:00 AM” as grim woodwinds support the king’s departure. The chirping woodwinds draped with metallic accents of the “2:00 AM” cue reprise as Anna is again summoned by the king. He agrees to her suggestion to invite other European delegations, and adds that she should set the table in proper British fashion. “The Golden Goblets” reveals the king displaying a magnificent array of solid gold goblets, and then ordering his servants to reproduce Anna’s tableware in gold. Woodwinds tristi adorned with metallic accents support the scene. “The Ladies” reveals the wives adorned in the dresses and being coached on proper etiquette by Anna. Herrmann interweaves graceful strings Europei with Siamese woodwinds esotica to support the scene.

“The Reception” reveals Anna coming upon the king, who is struggling with properly holding and using his tableware as an air of regal grace supports musically. Later, at 0:27 harsh dissonant horns create tension as the king and Anna greet the arrival of invited guests. Woodwinds of unease join, and at 0:53 the music again sours as the king in Siamese tradition, splashes rose water on guests, which startles them. We close softly atop woodwinds tenero as the king compliments Anna as the prettiest woman in the room.

In “The Banquet” he presents Anna with a written list of topics that he wishes she steer the conversation. Woodwinds tenero carry his departure, and at 0:13 woodwinds luminosi with sparkling adornment support the display of the king’s list of topics. At 0:25 austere and regal Siamese woodwinds and horns support the king’s arrival at an ornately set grand dinner table. Herrmann sows undercurrents of unease as Anna is informed that the napkins did not arrive. At 0:58 refulgent horns of tension and ethereal harps join as Anna motions the King to use a spoon for his soup. At 1:29 the music softens and warms as Anna brings up, much to the King’s delight, a discussion of Moses.

“Siamese Dance” (*) reveals post dinner entertainment provided by the king, which offers a traditional Siamese dance with diegetic musical accompaniment. A small ensemble of indigenous Siamese instrument supports the danza esotica. “The Gift” offers a beautiful score highlight. It reveals a weary Anna being summoned by the king. He announces that a treaty has been signed and credits Anna for the banquet’s success. He gifts her an ornate porcelain and jewel encrusted jewelry box as a token of his appreciation, and then asks her to share his meal. Herrmann supports with an intimate romance for strings as we see evidence of the king’s affection. The transfer of the melodic line to oboe tenero and kindred woodwinds is sublime. “Suspense” reveals Anna and Louis arriving to an empty school house. Outside, the children and wives scurry away from her gaze. Herrmann sows unease with a misterioso as Anna departs to seek an explanation. At 0:31 woodwinds doloroso voice Lady Thiang’s Theme as Anna joins her. She advises that Lady Tuptim escaped the palace, was captured, along with her male lover and is on trial.

In “The Dungeon” Herrmann’s renown brilliance is sowing a dark and foreboding musical narrative with bassoon, kindred low register woodwinds and dire horns is on display as we see Tuptim being interrogated for her crime of betraying the king and corrupting a monk, the man she had been betrothed to. At 0:52 a pleading Tuptim’s Theme full of heartache and joined by tearful, grieving strings, which support her efforts to explain and save her savagely beaten lover. We flow seamlessly into “The Second Dinner” atop dire horns of doom as Anna stops the beating of Tuptim and vows to bring this matter to the king. The former cue’s grim musical narrative carries her to the King and her demand to speak of Tuptim in front of his other wives causes him to erupt in anger at 0:29 empowered by dire horns as his wives flee. In “Cruelty” he will not relent with his vengeance and Anna crosses the line in personally berating him in frustration, calling him, a barbarian who will never change. Herrmann supports the tense scene with a lurking Kralahome Theme full of malevolence as he threatens to have Anna watch his verdict. She is appalled, and departs, their relationship irreparably ruptured. As he absorbs the aftermath, Kralahome’s Theme shifts to a molto tragico iteration.

“The Stake” offers a truly horrific musical narrative. Herrmann empowered the scene with a vengeful Kralahome’s Theme, which swells on a dissonant crescendo of agony as we see Tuptim and her lover burned alive at the stake, while a tearful Anna covers her ears in her bedroom. “The Offering” reveals the king’s wives beseeching Anna to stay and not abandon them. A tearful Anna is overwhelmed and runs away and as she sits in a waiting room, her mournful theme is borne by strings affanato. “The Legend of the Panels” offers a poignant score highlight filled with pathos, and for me, the most emotional music of the score. Anna visits Lady Thiang who has been estranged of late to say goodbye and to apologize for her failure. Lady Thiang does not mince words and takes her on a journey of her life, which is told by trees on a series of art panels in her room. She relates her sadness from the King’s and now her son’s abandonment. She admonishes Anna and says she will never forgive her for squandering the opportunity to educate her son and make him both a better man, and better future king. Herrmann supports with a soliloquy of Lady Thiang’s Theme, an aching Pathetique full of regret.

“The Fall” reveals Louis off on a morning horseback ride. His attempt to leap a fallen tree fails and he is thrown and killed. We open darkly as he is thrown, with suffering strings affanato supporting Anna’s heartache. We close at 0:31 with a crescendo of pain as an overwhelmed Anna falls to the floor. In an unscored scene, Kralahome reads a royal decree from the king which orders the kingdom to officially honor Louis, and also bestows the title of Lady of Siam to Anna. He informs her that within the words are the king’s apologies, something he has never done before for anyone. In (*) “Anna and the Prince” Prince Chulalongkorn visits to say his condolences and to return a gift from Louis. Anna says he may keep it, and the prince offers her the gift of his white elephant. Soft strings, full of regret support the intimate scene, which ends with Anna hugging the grieving prince.

“Sorrow” and the following cue offer one of the score’s most beautiful set pieces. Anna at last meets with the king, who voices his need for her counsel on a number of issues, but she is heartbroken with the loss of her boy and weeps. We see her spirit is broken with grief, and the interaction between the two is tender, and intimate. Herrmann offers an achingly beautiful, albeit sad string borne set piece with woodwind adornment. We flow seamlessly into “Consolation” when he suggests work as the best tonic. Anna agrees, saying the children and her school are all she has left in her life. Herrmann sustains the sad musical narrative of the previous cue. “Montage” reveals a royal summons for Anna to assist the king managing the after effects of the Bower’s Treaty, the first of several unequal treaties with European powers that grant them untaxed trade rights, and legal immunity to their citizens as the price of Siam maintaining its sovereignty. Herrmann propels the montage of consulate openings, and Anna counseling and teaching with a spirited and churning piece by Siamese woodwinds animato, xylophone and percussion.

“The Last Call” reveals Anna being summoned at once to come to the king’s death bed, carried by aching strings affanato. “Elegy” offers another score highlight where Herrmann masterfully supports the king’s final testament as to how important and how precious Anna, his only trusted counsellor was to him. The scene is intimate, with the barrier of king and subordinate at last gone so that nothing stands between them as he affirms her invaluable service to him, his wives and children, and the kingdom. Herrmann graces us with a heartfelt and achingly beautiful string borne elegy adorned with woodwind tristi passages. The once regal Siamese Theme has been shorn of its grandiosity and is now woven within the musical narrative softly, and tenderly as the king, now at peace, prepares for his last fleeting moments of life. In “Memories” the king has passed and Anna and Kralahome spend a moment together reminiscing. Herrmann bathes us in solemn, religioso auras, opening the scene with a grim dirge, which then transitions to grieving woodwinds affanato of regret as the two contemplate an uncertain future.

“The Coronation” offers a truly inspired and emotional score highlight, where Herrmann’s music reaches it apogee. Prince Chulalongkorn, now a young man ascends to the throne and crowns himself king supported by a grandiose declaration of the regal Siamese Theme in all its resplendent oriental grandeur. At 0:24 warm French horns nobile voice an inspired narrative, which support the king’s first declaration, that from this hour on the ancient practice of kowtow is abolished, and that all men will stand in the imperial presence, as well as with all others in society regardless of their position or authority. The people are stunned and at 0:57 tremolo strings full of tension support the sight of people coming off their knees. A crescendo dramatico swells and culminates grandly as the court, led by Kralahome, stand heads up to view their king. A thankful king looks at Anna with gratitude in his eyes as she smiles, realizing that she has made a difference. At 1:26 warm strings tenero with harp adornment support the king declaring that this is only the first of many changes he will soon be making to carry out his father’s vision, as he and Lady Thiang again offer glances of gratitude to Anna. We conclude grandly with a regal flourish as the film displays “The End”.

I commend the late Nick Redman, Rick Victor, and Varese Sarabande for reissuing Bernard Herrmann’s outstanding score for Anna and the King of Siam. Although the recording offers remastered and remixed monaural sound, it still affords a good listening experience that does not diminish Herrmann’s handiwork. Upon receiving the project from Alfred Newman, Herrmann submersed himself into extensive research of Siamese and Balinese music. What is remarkable is how he transformed the sound of his traditional western orchestra to offer classic orientalism with some of the most ingenious and creative writing of his career. From the film’s opening bars empowered by the grandiose Siamese Theme, we are instantly transported to Siam, fully immersed in its mystery, exoticness and grandeur. Also noteworthy is that the score features some of Herrmann’s most intimate and emotional writing for woodwinds and strings with cues such as “Tuptim”, “Lady Thiang”, “The Legend of the Panels”, “Sorrow/Consolation” and “Elegy”. These cues offer exquisite compositions, which in my judgment refute Herrmann’s assertion that his score was only “musical scenery”. Throughout the score we are graced by countless motifs by woodwinds orientali, whose intricacy and elegance are simply, sublime. Folks, I believe this score merited its Academy Award nomination, offering one of the finest examples of aural orientalism in film. In scene after scene, Herrmann’s music created the perfect ambiance, as well as expressing both the overt and covert emotions of the actors. I believe this score to be a classic of the Golden Age, and an essential score for Herrmann fans and lovers of orientalism. Lastly, for me this is yet another score that demands a rerecording with 21st century technology so the Maestro’s genius can be fully appreciated.

For those of you unfamiliar with the score, I have embedded a YouTube link to five-minute suite: https://www.youtube.com/watch?v=4RiRF6Whmg8

Buy the Anna and the King of Siam soundtrack from the Movie Music UK Store

Track Listing:

  • Prelude (1:51)
  • The Kralahome (2:25)
  • The Street (0:38)
  • Siam (2:55)
  • Wait (0:27)
  • The Almanac (0:16)
  • The King (1:39)
  • The Harem (0:24)
  • The Children (0:42)
  • The Teacher (1:10)
  • The Courtyard (1:38)
  • Anger (0:19)
  • Fish Market (1:00)
  • The First Lesson (0:52)
  • Pandemonium (0:29)
  • Tuptim (2:35)
  • Lost Cambodia (3:35)
  • The Abduction (0:26)
  • The Letters (0:33)
  • Lady Thiang (1:18)
  • 2:00 AM (0:57)
  • 3:00 AM (1:02)
  • Tuptim’s Slave I (0:26)
  • Tuptim’s Slave II (1:43)
  • The Dresses (0:26)
  • The Hall of Women (0:28)
  • 4:00 AM (0:24)
  • The Golden Goblets (0:20)
  • The Ladies (0:39)
  • The Reception (1:19)
  • The Banquet (1:44)
  • The Gift (0:51)
  • Suspense (1:05)
  • The Dungeon (1:57)
  • The Second Dinner (0:41)
  • Cruelty (1:06)
  • The Stake (0:52)
  • The Offering (0:19)
  • The Legend of the Panels (3:23)
  • The Fall (0:32)
  • Sorrow (1:24)
  • Consolation (1:25)
  • Montage (1:15)
  • The Last Call (0:26)
  • Elegy (4:58)
  • Memories (1:39)
  • The Coronation (2:32)
  • Chant No 1 (1:18) Bonus Track
  • Chant No 2 (1:40) Bonus Track
  • Anger (Four Takes) (1:20) Bonus Track
  • Home Sweet Home (0:54) Bonus Track

Running Time: 64 minutes 17 seconds

Varese Sarabande VSD-6091 (1946/2000)

Music composed and conducted by Bernard Herrmann. Orchestrations by Bernard Herrmann, Edward B. Powell and Leonid Raab. Recorded and mixed by Murray Spivack. Score produced by Bernard Herrmann. Album produced by Nick Redman and Rick Victor.

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