Lawrence of Arabia

Label: Tadlow Music     
Catalogue No: TADLOW012

Release Date: 13-Sep-2010

Total Duration: 02:28:03

UPN: 6-2657-06096-6-7

City of Prague Philharmonic Orchestra conducted by Nic Raine

A long cherished project by Tadlow Records’ producer James Fitzpatrick, this recording of Maurice Jarre’s complete score for LAWRENCE OF ARABIA, as performed by the City of Prague Philharmonic Orchestra conducted Nic Raine, easily outshines all previous versions of the music.

David Lean’s LAWRENCE has entered the film world lexicon as an authentic masterpiece: a film which succeeds on so many different levels, not least of which is the music score. Jarre’s majestic main theme which is used to describe the sweeping vistas of the desert, is one of the most popular and iconic of themes – one of the most instantly recognisable themes in all film history. So recognisable is the main theme, that slipping it into a desert scene in a James Bond film (The Spy who Loved Me) is all that is necessary to tap into the collective memory to have an audience laughing in recognition. Of course, the complete score is far more than that main theme. It could be said that the uncomplicated harmonies of the desert theme make it somewhat less interesting than the more complex themes which Jarre also utilises and, as Frank K. DeWald explains in his excellent booklet notes, in the way Jarre brings an unresolved tension to so much of the score – something of a trademark for the composer who had a very recognisable and unique style.

The opening of the ‘Overture’ is an electrifying attention-grabber with its exuberant timpani opening followed by the string dominated main theme. The unresolved ending leaves a sense of keen anticipation as the ‘Main Title’ begins with another timpani fanfare and the introduction of a delightful British-styled theme as, in the opening credits, Lawrence is seen in England preparing for his fateful motorcycle ride. Overall, the film is not exactly sparsely scored but at about 70 minutes (excluding ‘Overture’ etc) the film is not overly scored either. Most of the music is contained in the first part of the film, prior to the Intermission, where it carries much of the action. The second part of the film (and it has to be said the less dramatically solid) is more dialogue driven and therefore less reliant on music – following the Intermission the film contains surprisingly little music. The most sustained lengthy musical sequences are when Lawrence and his followers cross the Nefud desert in order to attack Akaba. Comprising the tracks, ‘That is the Desert’, ‘Mirage / Sun’s Anvil’, ‘Gasim Lost in the Desert’, ‘Lawrence Rescues Gasim / Lawrence Returns with Gasim’. These cues contain some of the most interesting and inventive music; from the bleak low key instrumentations of the trek through the desert to the high point of exaltation expressed by Jarre so very well as Lawrence arrives with the rescued Gasim.

Following the attack on Akaba, ‘Sinai Desert / After Quicksands / Hutments / Suez Canal is one of the most atmospheric tracks as Lawrence makes his way back to Cairo but gets lost in the desert. Here, various unusual orchestral effects make for an effectively unsettling experience. ‘Adulation’ is a short but fascinating cue where the desert theme becomes almost ethereal as, in the film, Lawrence strides across the top of train carriages but the music then becomes militaristic, giving a totally different emphasis to the scene.

Apart from two tracks from Lawrence; an alternative ‘Nocturne’ and Alford’s ‘Voice of the Guns’, disc 2 contains music from 13 other Jarre scores selected for, as the notes say, “An overview of the rich variety and originality that made Jarre’s music so distinctive”. Some of these recordings appear to have either been previously released or, for whatever reason, were recorded but not released. I confess that many of these are unfamiliar to me but they make a delightful potpourri of Jarre’s music and if I single any out, I would say the suite from ‘The Magician of Lublin’ is especially attractive.

Overall this recording of LAWRENCE OF ARABIA is exceptionally well played and recorded and remarkably authentic to the original soundtrack, making it inspirational and exciting to listen to. Presentation is well up to Tadlow’s usual high standards. Apart from Frank K. DeWald’s previously mentioned detailed notes. James Fitzpatrick provides revealing and detailed information about the project and reminiscences about Maurice Jarre – for which this is a very fine and admirable tribute.