CD Review
KING OF KINGS (1961) -
World Premiere Digital Recording
of the Complete Film Score
Music Composed by Miklós Rózsa
The City of Prague Philharmonic Orchestra and Chorus,Nic Raine, Conductor
Concertmaster: Lucie Svehlova
Choirmaster: Miriam Nemcova
Cello solos: Marek Elznic
Original Orchestrations by Eugene Zador
New Score Reconstructed and Orchestrated by Leigh Phillips
Additional Percussion & Ethnic Instruments: Gareth Williams and James Fitzpatrick
Music Preparation by Bix Thomas and Jiri Simunek
Booklet notes: Frank K. DeWald
Album Producer: James Fitzpatrick for Tadlow Music Ltd.
Executive Producer: Janet Fitzpatrick
Associate Producers: Leigh Phillips and Frank K. DeWald
Recording Engineer: Jan Holzner
Assistant Engineers: Michael Hradisky and Vitek Kal
Edited & Mixed at Pickles Studios by Gareth Williams
Orchestra and Chorus recorded at Smecky Music Studios, Prague
November 2018 and January 2019
CD 1: 23 tracks (Timing=71:40)
CD 2: 16 tracks (Timining = 72:40)
Tadlow 033
Rating: ****
KING OF KINGS remains
one of the most impressive Hollywood Biblical epics from the past, especially due to the majestic film score
by Miklós Rózsa (1907-1995).
Like the earlier superior recording on 2 CDs of the complete film score for BEN-HUR (Tadlow 026 for which Rozsa received his third Oscar and also the 2 CD recording was named for a Sammy Film Music Award. Also recorded was SODOM AND GOMORRAH (Prometheus XPCD 178) which was also named for a Sammy Film Music Award. All three of these Rozsa scores have been recorded briliantly by The City of Prague Philharmonic Orchestra and Chorus under Nic Raine's direction and they form a worthy Biblical film score triptych.
In his excellent book, Music for the Movies, Tony Thomas quotes this statement from
Miklos Rozsa about his score:
No assignment in my life was tougher than -- King of Kings. It was made right after Ben-Hur and I moved from one film to the other...In previous films about Christ, He had not been heard, now He was both clearly heard and seen. Thus, the central theme of the score is that of Christ the Redeemer. It usually appears accompanied by female voices sustaining soft harmonies. The Hebrew themes are fashioned after examples of ancient Babylonian and Yemenite melodies, and the Roman music is, again, my own intrepretation. ..by using Greco-Roman modes and a spare and primite harmonization, it tries to evoke in the listener the feeling and impression of antiquity.
This quote illustrates how carefully the composer was in trying to evoke the time in his music, even though he called the first completed version which was poorly acted and directed as Rozsa humorously described it as -- "nonsensical biblical goulash."
Fortunately, the final production was much improved and better received by the public.
I was able to see KING OF KINGS when first released in 1961 and though I thought it was well made, I didn't think all the acting was the best for such a Biblical epic. But the music was on a much higher level. I later bought the Deluxe LP album which had a colorful 32 page hardcover book included and the cover is shown here:
At the back of this book, there is a paragraph about "The Composer." Here is an excerpt which further illustrates the searching for the right themes in KING OF KINGS:
For the musical score of the Biblical production, Dr. Rozsa visited Madrid during the making of the film, journeyed to Europe's cathedrals and cultural centers seeking themes of ecclesiastical inspiration.
As with BEN-HUR, Rozsa has crafted a highly memorable film score.
Following the forceful Overture (track 1, 3:48) on CD 1 with prominent use of gong and full chorus with the orchestra, there is the incrediby powerful main theme (Prelude) which will return again and again throughout this film score. Is it too much of a good theme? Not at all. Rozsa doesn't just quote the theme the same way each time. He varies the orchestration and use of the chorus and orchestra. Listening to this Overture gives the listener a sampling of the grand musical feast that is to unfold over the rest of over two hours on this expansive soundtrack.
As with all great film scores, especially those by Rozsa, there is great variety among the various themes.
Frank K. DeWald's booklet notes are helpful and worth reading, though sometimes intended more for music specialists ( "Mixolydian mode" anyone?) than to the general music listener. Here is his less technical description:
Much of the score moves with a fluidity of plainchant. This is due in part to the contours of the melodies, but also to the way Rozsa manages his material,with motifs flowing naturally into and out of one another.
To mention just one example of this "fluidity", there is Track 11 (HEROD THE GREAT/ THE BAPTISMER/ BAPTISM Of CHRIST/ SADNESS AND JOY - 4:50) with the prominent use of modal or ancient harmonies and the female chorus appears from the opening main theme. Also, there is a lilting solo at the end of this track, beautifully played by cellist, Marek Elznic.
This tenderness is set against the exotic nature of other scenes. One of the most impressive is "Salome's Dance" (track 22), a seductive mix of exotic themes in rapid succession, and there is a reprise of this dance at the end of track 23.
On CD 2 there are several darker or more somber themes. One is the beautiful theme for THE LORD'S PRAYER with wordless chorus (track 3), sung by the admirable City of Prague Orchestra Chorus under the direction of Miriam Nemcova.
Another is the solemn and quite moving track, THE LAST SUPPER/ THE FEAST OF PASSOVER (track 9), including a Passover Chant sung by unaccompaniued chorus. Another example is in the premiere recording of the original version on track 13 (GOLGOTHA/ PIETA/ SEPULCHRE). This track features an intense series of themes. These themes demonstrate how Rozsa was a master at portraying the darker side as well as the celebratory tale of the Christ.
The end of CD features the RESURRECTION (track 14) and EPILOGUE (track 15), both featuring full chorus and orceshtra in a blazing sound of exaltation.
But wait -- there is an added treat on track 16. The Theme from KING OF KINGS (3:26), as beautifully arranged for violin soloist (Lucie Svehlova) and orchestra by master orchestrator, Leigh Phillips.
Everyone involved in this production, especially the City of Prague Orchestra and Chorus under Nic Raine's direction, and orchestrator, Leigh Phillips, deserves highest praise for their work. Also all the tecnicians and especially the CD producer, James Fitzpatrick, who has produced a most impressive series of recordings over the years for Tadlow. See my interview with him -- click here
What else need be said except to thank all involved in making this great score by Miklos Rozsa sound the best it has ever sounded for over two hours of glorious film music.
This is another landmark release for Tadlow.
I give it my Highest Recommendation.
--Roger Hall, 3 December 2020
For more information about Tadlow CDs -- click here
Also available is this highly recommended 2 CD set from Tadlow:
For those who want the ultimate recordings of BEN-HUR,
this 2 CD set of the complete original soundtrack is the best one available:
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