Wow! Magnificent Hugo Montenegro score arrives on 2-CD set with wealth of previously unreleased music!
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Doug's Tech Talk
Wow! Magnificent Hugo Montenegro score arrives on 2-CD set with wealth of previously unreleased music! Not only expanded from 1967 RCA album but with much music deleted from finished film and being heard here for first time. Otto Preminger originally intended mammoth story about race relations in the South after WWII as three hour-plus epic with "intermission" and "exit" music. Final picture was cut heavily, with sizable portions of film - and score - dropped entirely. Montenegro originally recorded lengthy score for longer cut, including afore-mentioned "roadshow" music across some 42 reels of 35mm multi-track session elements with multiple layers requiring complex synchronization. In wonderful discovery, Paramount Pictures located every single 35mm reel in absolutely pristine condition, allowing brand new full stereo mix of every cue! Entire score, alternates, versions both with, without various overlays, unused cues, "Entr'acte" and "Exit" music - all survived intact with some of the most astonishingly detailed stereo sound ever encountered with mid-sixties era film score recordings! Michael Caine, Jane Fonda, John Philip Law, Faye Dunaway, Robert Hooks, Diahann Carroll, Burgess Meredith, George Kennedy all feature in large cast, Horton Foote (To Kill A Mockingbird) co-scripts with Thomas C. Ryan, Otto Preminger directs. Hugo Montenegro anchors with incredibly strong main theme ("Main Title"), then surrounds with vast array of themes, motifs: the Americana idiom of "Homecoming", love themes for Caine/Fonda & Law/Dunaway characters, heartfelt variants for Hooks/Carroll relationship (much of which was cut from final film & score) plus much much more! Intrada release also features two versions of powerful, nearly 11-minute "Playing With Dynamite" sequence - just three minutes appeared on original 1967 RCA album.) Intrada also offers Caine's solo sax pieces, Montenegro's cool jazz source cues, afore-mentioned "Entr'acte" and "Exit" music plus numerous score alternates. If not enough, find the complete 1967 34-minute LP newly re-mastered from original two-track stereo album masters. It is rare to unearth so much musical material from Preminger's epic roadshow-style films. Happily, Hurry Sundown is one such discovery! Rich packaging features flipper-style booklet cover: choose between original film campaign art by David Weisman or 1967 LP cover art, also by David Weisman. Richly recorded at Metro Goldwyn Mayer Studios Scoring Stage during October 1966. Leo Shuken, Jack Hayes orchestrate, Hugo Montenegro conducts. Intrada Special Collection 2-CD set available while quantities and interest remain!
CD1 01. Main Title (2:18) 02. Homecoming (4:41) 03. First Meeting (1:34) 04. Rad’s Wound (1:26) 05. Kids Sleep (1:05) 06. Love Theme (Revised) (5:49) 07. Hi Rad (0:28) 08. Welcome Suki (2:24) 09. Rose Meets Julie (3:37) 10. Rose’s Attack (1:15) 11. The Loser (2:22) 12. Hurry Sundown Theme (1:17) 13. Breakfast In Bed (2:07) 14. Bread And Jam (1:45) 15. Love Me Vivian (Original) (3:43) 16. Reeve (0:37) 17. Hurry Sundown (Choral – Film Version) (2:16) 18. Entr’acte (3:27) 19. Jubilation And Hurry Sundown Blues (3:47) 20. Henry’s Blues (1:57) 21. Vivian’s Nite Visit (1:25) 22. Julie’s Gone (With Sax Overlay) (1:59) 23. Henry’s Dream No. 1 (With Sax Overlay) (1:54) 24. Charlie’s Trip (2:49) 25. Playing With Dynamite (10:42) 26. Togetherness (3:17) 27. End Title (With Soprano Overlay) (1:14) 28. Exit Music – Hurry Sundown (Choral) (1:59) CD1 Time: 74:03
CD2 The Extras -- Alternates and Additional Cues 01. Cool It Julie – Intro (0:09) 02. Love Theme (Original) (5:48) 03. Love Me Vivian No. 2 (Revised) (1:59) 04. Julie’s Gone (1:59) 05. Henry’s Dream No. 1 (1:54) 06. Henry’s Dream No. 2 (With Sax Overlay) (0:37) 07. Henry’s Dream No. 2 (0:37) 08. Playing With Dynamite (Alternate) (10:42) 09. End Title (1:14) Time: 27:02
Saxophone Cues 10. O Henry (1:51) 11. Cool It Julie – Sax (Henry’s Theme) (2:03) 12. O Henry (Julie’s Sax Solo) (0:05) Time: 4:05
Original RCA Soundtrack Album 13. Main Title (2:19) 14. Cool It Julie (2:20) 15. Hurry Sundown (Choral – Film Version) (2:11) 16. Homecoming (2:18) 17. The Loser (2:24) 18. Love Me Vivian (3:26) 19. Charlie’s Trip (2:49) 20. Hurry Sundown (Choral) (2:01) 21. Playing With Dynamite (3:12) 22. Hurry Sundown Blues (2:00) 23. Love Theme (2:46) 24. Breakfast In Bed (2:10) 25. Interlude And End Title From Hurry Sundown (3:30) Time: 33:43 CD2 Total Time: 64:59
Tech Talk From The Producer…
Hurry Sundown ran roughly three hours when Hugo Montenegro wrote and recorded his score. For that initial cut of the picture, Montenegro composed both a rousing “Entr’acte” to play during the intermission and a special version of the main theme, “Hurry Sundown (Choral),” that could be used as “Exit Music.” Neither piece ended up in the finished picture by the time it arrived in theaters in a final cut running just under two and a half hours. The former cue was never heard from again; the latter managed to make its way on to the RCA soundtrack album that was released at the time. Both appear on this 2-CD set (CD 1, tracks 18 & 28).
Amongst the many cues Montenegro recorded that were dropped from the finished film were several beautiful versions of the love theme for Reeve (Robert Hooks) and Vivian (Diahann Carroll) after their part of the epic story was trimmed back. In fact, Montenegro also recorded alternate versions of some of these cues, making changes to how the cues ended or how long they would play for—all for naught when they were dropped entirely.
Also lost were two additional pieces that were part of the dramatic four-movement “Homecoming” sequence that opens the film. For the original album, Montenegro assembled the first segment, which appears in the film, and the third segment, which does not. We include that assembly but have also added parts two and four, presenting the premiere of the total sequence.
The score’s longest sequence, “Playing With Dynamite” (which runs nearly 11 minutes), deserves special attention. Montenegro recorded two versions that played for the same amount of time and were identical for the first half but differed musically throughout the second half. As with many other cues, this important sequence was edited down in the final cut of the film. For his original album, Montenegro chose to include the unused alternate version, but edited it down to just over 3 minutes. For our CD, we present all three versions of this powerhouse cue, with the complete, unedited version of the film take appearing on CD 1 (track 25), the full-length, unused version appearing on CD 2 (track 8) and the edited album version on CD 2 (track 21).
Another interesting aspect of the score as it appears in the film is the use of solo saxophone during a number of sequences involving leads Henry (Michael Caine) and Julie (Jane Fonda). As part of the drama, Henry once led his own jazz band, but quit— a decision he still regrets. Throughout the film he serenades Julie with his alto sax, or sometimes just plays for himself. In other scenes, he puts records on a turntable and plays along with them, usually just for mere seconds. The strictly solo saxophone cues appear as “extras” on CD 2 (tracks 10, 11 & 12). For the original Montenegro record source music, he scored each as a big band work that stands alone without the sax and separately recorded Henry’s onscreen sax parts as ad lib solos that were overlaid on top to match the visuals as needed. As such, we include these cues with the overlaid sax snippets as heard in the film on CD 1 and present them again in their standalone versions on CD 2 as extras. The one exception to this sequencing is “Henry’s Dream No. 2.” While being a totally separate take, it is a short piece identical to the preceding “Henry’s Dream No. 1” with the exception of the trombones at the end being muted in the first dream and open in the second. For purposes of musicality, the second dream plays both with the overlaid sax and without it as extras on CD 2 (tracks 6 & 7).
In addition to editing several selections chosen for the original album into shorter, tighter pieces, Montenegro also made creative record assemblies, such as with the ending of the score itself. For the album finish he edited together sections from the Entr’acte and the Interlude with the End Title itself. CD 1 presents the music as Montenegro originally recorded it in the sequences intended, while his album edit appears on CD 2 (track 25).
We offer that creative original 1967 soundtrack album in its entirety on CD 2 (tracks 13–25), newly remastered and presented in stereo from the RCA album tapes, courtesy Sony.
To present all of this rich and dramatic music for Hurry Sundown, composed and conducted by Hugo Montenegro— including all of the previously unused cues as well as the wealth of music unreleased on the original album—we were given access to all of the 35mm multi-channel scoring session masters newly transferred by Deluxe Media Audio Services (formerly Chace Audio), courtesy Paramount Pictures. Because of the large number of cues recorded and the many channels of multi-track stereo music involved, there were 42 rolls of magnetic film. Incredibly, every roll survived in magnificent condition, yielding one of the most dynamic stereo presentations of film music ever drawn from the era.
Intrada is proud to premiere the full score Hugo Montenegro fashioned for Otto Preminger’s Hurry Sundown, a picture made almost half a century ago and yet still topical today. The stirring music is, without a doubt, timeless as well.
Composed and conducted by Hugo Montenegro. Recorded on October 10, 11, 13 and 15, 1966, at Metro-Goldwyn-Mayer Studios Scoring Stage, Culver City, California.
VIOLIN Erno Neufeld
VIOLA Sanford Schonbach
Joseph Di Fiore
CELLO Raphael Kramer
Justin Di Tullio
BASS Abe Luboff
Keith “Red” Mitchell