Details
Track Listing
1. Overture
2. Fog, The
3. Princess, The
4. Stone Gate, The
5. Cyclops, The
6. Trumpets, The
7. Bagdad
8. Sultan's Feast
9. Vase, The
10. Cobra Dance
11. Prophesy, The
12. Pool, The
13. Night Magic
14. Tiny Princess
15. Ship, The
16. Fight, The
17. Return, The
18. Skull, The
19. Cave, The
20. Capture, The
21. Fight With the Cyclops, The
22. Cyclops' Death
23. Cliffs, The
24. Egg, The
25. Request, The
26. Genie's Home, The
27. Fight With the Roc, The
28. Nest, The
29. Dragon, The
30. Transformation
31. Skeleton, The
32. Duel With the Skeleton, The
33. Sword, The
34. Dragon and Cyclops
35. Crossbow, The
36. Death of the Dragon, The
37. Finale
| Details | | Producer: | Robert Townson | | Distributor: | Universal Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
Original score composed by Bernard Herrmann.
Performed by Royal Scottish National Orchestra; John Debney (conductor).
Recorded at City Halls, Glascow, Scotland on May 5 & 7, 1998. Includes liner notes by Christopher Husted.
This double-CD set is almost too good to be true; though it owes a genuine debt to Rimsky-Korsakov's SCHEHERAZADE, Bernard Herrmann's music for Ray Harryhausen's THE 7TH VOYAGE OF SINBAD constitutes one of the finest fantasy film scores ever written. The makers of this CD set have assembled every finished note of music that Herrmann composed and conducted for use in the actual film, including the original stereo film tracks themselves, heard free-standing for the first time and unedited; and that means that disc one contains some 70 minutes of Bernard Herrmann material that is new to the audio format and heard for the first time on its own terms. And it holds up beautifully, the textures astonishingly vivid on the 51-year-old source materials, and the sound clean and bright. The second disc, running just over half as long, offers Herrmann's official soundtrack album recordings of the same material, from the same period--the composer's first opportunity to present his own music on a complete album. And so the two bodies of work offer a fruitful canvas for comparison, and insights into what parts of his music Herrmann thought most worthy of additional exposure. The audio production is flawless, and the packaging is handsome. And beyond its musicological merits, this soundtrack is also a special gift to completist collectors of the composer's music, as it has become a serious collector's item since the '80s.
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