Moscow Symphony Orchestra & Choir - William Stromberg, conductor. Score restorations by John Morgan.
ALL THIS AND HEAVEN TOO
1. Main Title 1:39
2. To France - The Caretaker - The Duke 2:38
3. Carriage Ride 1:31
4. Henriette - Armida Overture 2:16
5. A Night to Remember for Louise 3:46
6. Mysteries of Life 3:34
7. The Smiles of Hypocrisy 3:14
8. All Hallows Eve - Lotis Song - Springtime - The Carousel 5:42
9. Reunion and Understanding - Springtime Again - Henrietta 7:16
10. Jailed 3:22
11. Rushing to a Dying Duke - The Duke - Final Farewell 7:28
12. Finale - End Cast 2:25
A STOLEN LIFE
13. Main Title - Sailor's Hornpipe 3:56
14. A Stolen Life - Twins 6:42
15. Karnock - Shopping Tour 2:55
16. Storm - Aftermath 4:26
17. Interlude 1:50
18. Talbot and Confrontation 2:25
19. Finale 3:56
ALL THIS AND HEAVEN TOO - An incredibly long but never dull adaptation of the Rachel Field best-seller, "All This and Heaven Too" was based on a once-notorious European scandal. Star Bette Davis is first seen as a French schoolteacher in a 19th century American seminary. When her supervisor, minister Jeffrey Lynn, has questions to ask about her tainted past, Davis relates her story in flashback. She had been hired by French Duke Charles Boyer to be the governess for his children. Boyer's wife Barbara O'Neil was insanely jealous, so much so she inadvertently threw Boyer and Davis together. Davis was willing to leave rather than cause more discord, but the influential O'Neil vengefully refused to write a letter of recommendation (a bravura scene). Later, the impoverished Davis was arrested as an accomplice in the murder of Boyer's wife. The latter's position in French society stirred up volatile political ramifications, with Davis innocently in the center of the storm. Boyer committed suicide, exonerating Davis on his deathbed, but she had already been condemned in the court of public opinion. Disgraced, she left for America to start life anew, which brings us back to the present. Unable to continue running away from herself, Davis confesses her past indiscretions to her students--who promptly forgive her. Casey Robinson had a hell of a job adapting Rachel Field's cumbersome novel. The performances in "All This and Heaven Too" are enhanced immeasurably by the lush Max Steiner musical score. 1940.
A STOLEN LIFE - In this romantic melodrama, Bette Davis plays twin sisters for the first time (she would do so again in 1964's Dead Ringer). Kate Bosworth (Davis) is a sincere, demure girl and talented artist. Her twin sister Pat (also Davis) is a flamboyant, man-hungry manipulator. Orphans, the girls' guardian is their cousin, Freddie Lindley (Charles Ruggles), with whom Kate elects to spend a summer on Martha's Vineyard. There, she meets Bill Emerson (Glenn Ford), a handsome engineer spending a summer vacation as a lighthouse inspector. Kate falls deeply in love with Bill, but when Pat shows up, he goes for the more exciting sister, eventually marrying her. Devastated, Kate throws herself into her art, but she becomes discouraged under the tutelage of an abusive master, Karnock (Dane Clark). A sailing accident gives Kate the chance to take her sister's place -- but can she fool Bill into believing that this sweet, innocent woman is his philandering, scheming wife? "A Stolen Life" (1946), a remake of an earlier picture by the same name that had been produced by Paramount only seven years earlier starring Elisabeth Bergner in the twins role, was nominated for a Best Special Effects Oscar. 1946.
Maximillian Raoul Walter Steiner was born in Vienna on 10th May, 1888. After completing, in one year, a four-year course at the Imperial Academy of Music, Steiner's dramatic instincts guided his musical path toward operetta, and at the age of sixteen he wrote and conducted The Beautiful Greek Girl. Classified an enemy alien while working in London at the outset of the first World War, Steiner was befriended by the Duke of Westminster and was given exit papers to go to America. He arrived in New York in December, 1914, with thirty-two dollars in his pocket.
After spending fifteen years as an arranger, orchestrator and conductor of musical productions written by Herbert, Kern, Youmans and Gershwin, Steiner went to Hollywood to adapt Rio Rita for RKO Radio Pictures. Although in those early years at RKO, the scores mostly consisted of a main title, perhaps a snippet or two during the film, and then the end title, the score that brought Steiner to everyone's attention was King Kong. As soon as the audience hears that three-note theme - those three massive darkly orchestrated descending chords - it knows it is in for a fantastic experience. In addition to composing scores, such as Morning Glory, the Lost Patrol, The Informer, and well over a hundred others, Steiner also acted as the arranger-conductor on many RKO musicals such as The Gay Divorcee, Roberta, Top Hat and Follow the Fleet.
In 1936, while under contract to Selznick International, Steiner was lent to Warner Bros. to score The Charge of the Light Brigade with Errol Flynn leading the noble Six Hundred, after which Steiner accepted a long-term contract, with the provision that he could work for Selznick when the producer needed him.
It is doubtful if any composer in history has worked harder than Max Steiner. His peak year was 1939, in which he worked on twelve films, including Gone With The Wind for Selznick. Steiner's career at Warners spanned almost thirty years and included the scores of around a hundred and fifty films. Not unnaturally, there was a fair amount of self-plagiarism and repetition, especially toward the end, but the general level of craftsmanship and the consistent understanding of the musical needs of filmic story-telling added up to an astonishing total contribution. Outstanding among his scores are Dodge City, They Died With Their Boots On, Now Voyager, Casablanca, and Since You Went Away (for Selznick), Treasure of the Sierra Madre, Adventures of Don Juan, The Glass Menagerie, The Searchers, and A Summer Place.
After years of enduring failing eyesight and the agonies of cancer, Max Steiner's heart stopped on 28th December, 1971. The boy who had sat on the lap of Emperor Franz Josef had lived to be almost eighty-four. Often complimented as the man who invented movie music, Steiner would reply 'Nonsense. The idea originated with Richard Wagner. Listen to the incidental scoring behind the recitatives in his operas. If Wagner had lived in this century, he would have been the Number One film composer.