1959 Victory at Sea Vol 1 Richard Rodgers Robert Bennett Vinyl LP Record LM-2335

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1959 Victory at Sea Vol 1 Richard Rodgers Robert Bennett Vinyl LP Record LM-2335 Record Grade per Goldmine Standard: VG RCA Victor Red Seal LM-2335 RICHARD RODGERS ___.....VICTORY AT SEAOrchestral Suite from the score of the NBC Television ProductionArranged and Conducted byROBERT RUSSELL BENNETTThe RCA VICTOR SYMPHONY ORCHESTRAMusical Director: Richard Mohr • Recording Engineer: Lewis LaytonLM-2335SIDE 1The Song of the High Seas. T his is the recurring themeof Victory at Sea, evoking a mystic sense of boundless watersand the resolution of the lonely ships that dare sail upon them.The theme gives way to an ominous passage announcing thepresence of a prowling U-boat, followed by the violence of asubmarine attack on an Atlantic convoy in the period whenGreat Britain stood alone. The movement ends with the melan-choly and dismay of the aftermath: death, destruction, thedrifting remnants of disaster.The Pacific Boils Over. The Pacific theme shifts the sceneto Hawaii, where there is still time for the hula, still time forone more aloha. Then, out of the azure skies, comes the droneof approaching planes, heralding the stunning fury of theattack on Pearl Harbor. The movement ends on a subduedbut unmistakable note of resurgence as the shattered baseprepares to rebuild and fight back.Guadalcanal March. The United Slates is at war. While ahandful of marines hold the enemy on Guadalcanal, Americamarshals her titanic industrial strength for the ordeal ahead.The rousing strains of the march proclaim the call to battle.D-Day. Beginning with the enormous buildup of men andmaterial by the Allied Nations, this movement takes us onthe epic invasion across the English Channel, onto the Nor-mandy beaches—to the moment of assault, to the moment oftriumph won at such bitter cost.Hard Work and Horseplay. In contrast to the violence ofD-Day, the music now tells of sailors scattered across thePacific on.a hundred rear-area bases, in a thousand ploddingships that never fire a shot in anger. The GI’s work and playunder the palms, and live as best they can on conqueredislands and coral atolls, where combat has gone and the dullroutine of war has come to stay. •SIDE 2Theme of the Fast Carriers. But ahead, under the sun-down, the war drives on, ever nearer Japan. A new themeannounces a carrier task force on its way to assault still otherislands, other strongholds. The planes and the troops batterMicronesia—Tarawa. Kwajalein, Eniwetok, then the Marianasand the Philippines. Two and Okinawa. When the strife isover, the battle done, back come the wounded, back to thecarriers limp the stricken planes. A funeral at sea symbolizesthe tragedy of conquest.Beneath the Southern Cross. In the South Atlantic a dif-ferent kind of war is being fought, and this movement tells ofit. Names like Trinidad and Brazil, Ascension and Montevideo.Natal and Fortaleza are evoked by the strains of the sparkling,sweeping tango. (This melody was later adapted by Mr.Rodgers for Me. and Juliet where it appears under the titleof “No Other Love.”)Mare Nostrum. Back to the violence of invasion, the fury ofassault in the Mediterranean. Allied troops are steadilybreaching the Festung Europa by way of the sea, liberatingNorth Africa, defending Malta, landing at Sicily, Salernoand Anzio. The tempestuous music of a convoy in a stormleads to the slow, majestic advance of the Allied Armies toRome.Victory at Sea. The final movement sings a hymn of victory.This is followed by memorable themes from the conflict thathas passed. And the sailors?—they are going home, each insearch of his own design for peace. To the jubilation is addeda final phrase of profound thanksgiving.© by Radio Corporation of America, 1959Printed in U. S. A.The j'oilowing essay was written by the late Henry Salomon,who conceived the idea oj Victory at Sea and who ivas theproducer of the series and co-author of the script.The wild, haunting cry of horns, trumpets and tromboneswith which Richard Rodgers begins his score for Victoryat Sea has in it all the vast restlessness and mystery of thesea itself, heralding a score which The New Yorker describesas “a seemingly endless creation, now martial, now tender, nowtuneful, now dissonant . . . memorable, and tremendouslymoving.”From first conception, I envisaged Victory at Sea as anintegrated pictorial and musical history of the epochal eventspertaining to the life and death of those engaged in the navalaction of World War II. The films which comprised the 26half-hour television programs were incomparable of theirkind, bringing to the eye of the audience, for the first time,the war at sea as it actually was, that war that was fought forthe aquatic two-thirds of the earth’s surface. But there wassomething the pictures by themselves could not convey, asubtle, spiritual dimension needed to give them—and theentire drama—its ultimate meaning.It is this emotional quality, in all its scope and implications,which Richard Rodgers’ music captures so keenly. The navalwar was perhaps the most powerful and stirring expression, inboth human and physical terms, of the might and potential ofcontemporary America. Since Rodgers is America’s foremostmusical spokesman, it was of him I thought when I firstgrasped the full implications of Victory at Sea.It was not surprising that Richard Rodgers shied away fromthe task when first approached. Having lifted musical comedyto new heights of excellence with Oklahoma!, South Pacificand The King and /, he was naturally reluctant to riskprecious lime in the new, difficult and untried field of tele-vision. But Mr. Rodgers’ innate sensitivity for human dramawas stimulated by the heroic spirit of the films. The impact ofthe pictures and the breath-taking quality of the action firstarrested, then challenged him.The symphonic sweep and depth of the Rodgers’ scorecaptures the moods and variations of the panoramic war atsea, all its terror and beauty, all its exaltation and despair.It adds the elusive emotional dimension which neithercamera nor words could quite convey. The richness and scaleof the Rodgers’ music were greatly enhanced by the compre-hensive arrangements of Robert Russell Bennett, who haslong been a collaborator of Mr. Rodgers on Broadway, andwho is an internationally recognized classical musician in hisown right.The present recording is a distillation of the original 13-hour score. Mr. Bennett has taken Victory at Sea’s majorthemes and woven them into a unified pattern which miracu-lously suggests the musical wealth and fullness of the muchlonger work from which they are derived.The music of this recording is an experience in itself, quiteapart from the pictures and narration it was designed to sup-plement. It fully justifies Variety’s description of the Rodgers’score as “the finest original work of its kind produced by anAmerican composer.” Many elements combined to win forVictory at Sea more awards than were ever lavished on asingle television program, and the music was not the leastamong the contributing factors. In giving Victory at Sea thehighest accolade in its field, the George Foster Peabody cita-tion referred to its score as “magnificent.” That, surely, isthe right word.This orchestral suite is divided into nine movements, eachof which reflects a major aspect of the war at sea.IMPORTANT NOTICEThis is a “New Orthophonic” High Fidelity recording, designed for the phonograph of today or tomorrow. Played on yourpresent machine, it gives you the finest quality of reproduction. Played on a “Stereophonic” machine, it gives even morebrilliant lrue-to-Ufe fidelity. You can buy today, without fear of obsolescence in the future.LM-2335 lp1045

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End Time: 2024-12-17T01:29:07.000Z

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