Special Collection Volume ISC 298
Film Date: 1988
Premiere release of exciting Bruce Broughton soundtrack from Peter Hyam's military crime thriller, set in San Francisco, starring Sean Connery, Mark Harmon, Meg Ryan.
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Doug's Tech Talk
Premiere release of exciting Bruce Broughton soundtrack from Peter Hyam's military crime thriller, set in San Francisco, starring Sean Connery, Mark Harmon, Meg Ryan. First of three pictures Broughton scored for Hyams, this one gave composer opportunities to write both strong main theme plus pulse-quickening action. Broughton launches with introspective, transparent four-note motif then moves to lean trumpet figure. Both ideas are reflective, offering cohesion that holds score together. Interestingly, brief trumpet idea is suggested throughout score but finally emerges into fully resplendent theme just once, for richly sonorous ending. But melody steps aside when action takes over. For chase sequences, Broughton creates propulsive rhythmic figures, then adds energetic, zigzagging staccato figures for trumpets in unison. Riveting trumpet parts playing above the fray are literally tour-de-force! Entire score plus alternates are presented courtesy Paramount Pictures. Sessions were made onto 32-track digital tape by Armin Steiner, then mixed directly to both digital and analog two-track stereo tape. Results are incredibly crisp, detailed! Special mention is due Broughton's recording of Edwin Eugene Bagley's famous "National Emblem" march. Stirring piece opens the film, Broughton records it outdoors for resounding, patriotic feel. A rewarding "extra"! Bruce Broughton conducts. Intrada Special Collection CD available while quantities and interest remain!
Tech Talk From The Co-Producer…
In approaching his
score for The Presidio, composer Bruce Broughton created a
splendid device simultaneously giving the work coherency and
diversity: a four-note motif characterized by a wide downward leap on the
second note. It was that simple. From this tiny anchor he could take the
score inward toward suspense or outward toward action—and, most importantly,
develop the motif into a fully realized theme finally heard at the
close of the score. How this motif works by itself and evolves into the richly
drawn love theme becomes
the intellectual substance of
the entire score. And then
there is the action.
Trumpets. The stalwart
sonority of the military film
and the aural symbol of great
authority. Broughton brings
the instrument into the music
early during the opening,
uses it further into his score
and ultimately brings it to resplendent
the aforementioned finish.
But there is so much more than meets the ear. At the outset, before
the trumpet begins its say, there is a delicate twinkling of the idea in a
variant for the keyboards, a distant suggestion of what will be. And this
suggestion, too, plays throughout the score, providing additional material
for the overall architecture.
And that action? In not one but two riveting chase sequences, Broughton writes exciting, propulsive rhythms for his percussion, searing lines for
his strings … and incredibly difficult passages for the trumpet section in
rapid exchanges of non-stop eighth notes in asymmetrical meter. In keeping
with his overall design for coherency, even these virtuoso trumpet figures
are linked with the primary motif via wide downward leaps. When
combined with the rest of the orchestra, this sound is both startlingly
unique and wildly ferocious.
The assembly of this world premiere
soundtrack release on CD follows the dramatic
action of the story. Following the score proper,
there are a handful of alternates, including the
original version of the main title with alterations
in both tempo and texture during the second half
as well as the second of two revisions of “Tailing
Spota” (the first revision appears during the full
score presentation). Also heard at the conclusion
of the CD is the rousing outdoor recording
Broughton conducted of the famous military
march “National Emblem,” composed by Edwin
Eugene Bailey in 1902 and used in the opening
of the film.
Courtesy of Paramount Pictures, this entire
CD was mastered from the original session elements,
initially recorded on digital 32-track tape
at 20th Century Fox Studios by engineer Armin
Steiner, then subsequently converted directly
into two-track stereo mixes on both digital and
analog tape. The resulting audio is crisp, clean
Composed and Conducted by Bruce Broughton.
The Presidio Recorded on April 25-27, and May 5, 1988, at 20th Century Fox Studios, Los Angeles, California.
This soundtrack was produced in cooperation with the
American Federation of Musicians of the United States and Canada.
Mari Tsumura Botnick
Alan De Veritch
J. Michael Mathews
Vince De Rosa
Michael G. Fisher