World premiere release of original soundtrack from taut William Graham dramatization of events surrounding 1972 Black September kidnapping of Israeli Olympic atheletes, subsequent rescue efforts by Israeli comando team refusing to negotiate.
Laurence Rosenthal, who frequently works with Graham on numerous TV films, uses modest but still powerful orchestra to underline tense activities, dramatic scenarios unfolding onscreen. Rosenthal spotlights complex percussion section (rototoms, snares, bongos, vibraphone, scraped tam tam, other sounds), focuses on suspense, action inherent in gripping story. Score is just over half an hour, Intrada presents it complete from only known surviving set of 1/4" session tapes mixed in mono as per the film and preserved by Rosenthal immediately following actual recording sessions.
The Album 01. Munich Main Title (2:29) 02. First Death (3:16) 03. Schreiber (2:10) 04. The Hostages No. 1 (1:19) 05. The Terrorists (1:30) 06. Spitzer (3:34) 07. The Photographs (2:44) 08. The Tunnel (3:45)
Laurence Rosenthal composed just over a half hour of original music for 21 Hours at Munich. Being an extremely efficient conductor during his sessions, Rosenthal was able to get the entire half hour of music, including one additional source cue for small combo, recorded in a single day during two sessions. Our premiere release on CD of the complete score was mastered from the original Íä_' full track (mono) scoring session mixes as recorded for the picture. The only known surviving studio-quality set of these masters was preserved by the composer immediately after the sessions were concluded, and it is that set of elements we have used for this CD. Because these tapes were originally made in 1976 by a TBS Studio engineer for the composer at the slower tape speed of 7 Íä_ ips, there is some hiss evident. As is our customary policy, we have not attempted to artificially filter out the noise or alter the inherent dynamic range of the actual recordings except in a few discreet instances where it was absolutely necessary. 21 Hours at Munich is a fine example of Laurence Rosenthal's ability to write taut, dramatic music for a picture that was economical in the quantity of scoring required but liberal in the amount of dramatic impact the music provided. Listen now and share that drama.
‹ Douglass Fake
Composed and Conducted by Laurence Rosenthal Recorded on September 10, 1976 at The Burbank Studio, Burbank, California