Classic Mancini score gets 2-CD set! Intrada Special Collection release limited to 1500 copies! SOLD OUT!
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Classic Henry Mancini soundtrack finally makes 2-CD set world premiere! Tom Gries directs large-scale sequel to HAWAII with Charlton Heston, Geraldine Chaplin, John Phillip Law. Long thought missing forever, Henry Mancini estate finally locates composer's personal 1/4" mono copy of complete soundtrack sessions, including full orchestral score plus all individual soloist overlays & original ethnic ensemble pieces. But there's more! Intrada also presents complete original Mancini re-recording of highlights from score, released on United Artists label, presented in stereo from superb condition stereo album masters vaulted at MGM. Mancini's own classic album represented just half of his score. Enjoy now his entire work and have additional fun comparing his very authentic re-recordings to his original soundtrack counterparts! Henry Mancini conducts both actual soundtrack plus re-recorded album. Intrada Special Collection release limited to 1500 copies!
The music Henry Mancini wrote for The Hawaiians was something of a watershed for the composer.
Without a doubt, Mancini was by far one of the most successful and beloved composers in cinema
history, and his list of popular hits (and amazingly successful albums) during the sixties and seventies
is remarkable by any standard. For The Hawaiians, he did something unusual for feature film scoring
at the time. In addition to composing for a large traditional orchestra, he wrote for authentic Asian
instruments as well, integrating that material with his score rather than deploying them in an
occasional source cue. He even wrote several of his main themes for various ethnic instruments, to
be played solo and in collaboration with the orchestra. The resulting meld of original Eastern ideas
and colors within Mancini’s own Western musical idiom was remarkable.
Henry Mancini’s research led him to several performing artists who were either students or
already accomplished players. Among the featured colors were the cheng, the hsun, both standard
and bass kotos, the santur and the hichiriki. Adding to Mancini’s challenge was the fact that this
part of his score needed to draw influences from both Chinese and Japanese music. He wrote
themes that would be distinctive in each of the two idioms, then blended them seamlessly into his
entire score. The results include some of his finest melodies, with the Japanese theme (“Fumiko”) an
especially rich and moving idea.
Mancini’s overall architecture for the score also bears highlight. The score opens appropriately with
his rousing main theme (usually associated with role of “Whip” Hoxworth), then develops several
other ideas. The main theme returns often, weaving in and out of the drama. His Chinese and later
Japanese themes also play throughout most of the score. But it’s interesting to note that Mancini
ultimately abandons his main theme, working with all of the other material instead. In fact, the finale
draws from his haunting Chinese melody for “Auntie” rather than the main theme. Only in the very
final bars does Mancini bring in a brief quote of his original main theme for one last fortissimo farewell.
Typical for the composer, the 1970 album release contained re-recorded highlights instead of the
actual film recordings. But atypically, Mancini re-recorded the score’s dramatic highlights and major
themes (instead of just source pieces) and recreated them in arrangements very similar to the actual
film recordings. Mancini recorded his album for the United Artists label with the same engineer (John
Norman) and venue (Glen Glenn Sound) as he had used for the film. Most of the same players returned for the album sessions. The rerecording was captured on 8-track master tape (24-track methods were
not yet in common use) and subsequently mixed down to two-channel stereo for playback, with all
of the various soloists, ensemble players and full orchestra present on the stage together rather than
being recorded at separate times—just as he had done with the film recordings. Listeners will note
much more room noise (chairs moving, instruments rattling, etc.) than with most session recordings
due to this fact. (We have minimized unwanted sounds where appropriate but have made no
attempt to alter or “clean up” the integrity of the original performances, room noise and all.)
Both the original United Artists stereo album masters and most of the 8-track album session
masters have survived in perfect condition courtesy of MGM. CD 2 of this Intrada release presents
the original album in stereo, in exactly
the same sequence that was originally
As for CD 1, complete session tapes
were provided courtesy of Terry Woodson
(noted Mancini authority and curator
of the Mancini estate) who located the
composer’s own personal masters of
the entire recording sessions. They were
mono mixdowns, preserved on three
well-worn 7½ ips ¼” reels of tape. But
they survived intact, including every
overdub, solo and ethnic ensemble
performance as well as every orchestral
scoring cue. This allowed us to assemble
and present a world premiere of the actual
film soundtrack performance for the very first time, complete with over a half hour of music not
featured on his original album. Listeners will find a terrific array of dramatic new scoring cues and
thematic variations inviting comparison with what was re-recorded for the album.
So sit back now and spend an hour and a half with one of the greatest scores ever penned by
one of the greatest film composers of the medium. Aloha!
Composed and Conducted by Henry Mancini.
Recorded on April 8 and 9, 1970, at The Goldwyn Studio.
VIOLIN Erno Neufeld
CELLO Ray Kramer
Justin Di Tullio
BASS Raymond Brown
FLUTE Ted Nash
Arthur C. Smith
OBOE Gene Cipriano
SHENG David Liang
FRENCH HORN Vincent De Rosa
TRUMPET Graham Young
A. D. Brisbois
TROMBONE Richard Nash
PIANO James Rowles
HARP Dorothy Remsen
PERCUSSION Larry Bunker