or devotees of mythic fantasy, few diversions capture the elegance and excitement of the distant past better than sweeping costume dramas. Although these extraordinary—and invariably expensive—epics are rarely produced nowadays, during the mid-1950s such movies were extremely popular. Crafted to stylishly showcase technological innovations like CinemaScope and
VistaVision, these big-screen spectacles were routinely augmented with top-notch music. A double-disc package from the publishers of Film Score Monthly magazine spotlights Academy Award-winning composer Miklós Rózsa's opulent orchestral creations for two classic cinematic sagas, Knights of the Round Table (1953) and The King's Thief (1955).
Each score exudes grandeur, grace and, where appropriate, grievous peril. On the first CD, composed of 20 cuts devoted entirely to Knights of the Round Table, elaborate sequences such as "King of England/On the Road/Modred's Plot" and "Morte D'Arthur/Resignation/To the Death!" dynamically convey dignity and danger. "To the Battlefields/Prelude to War" and "Pict Battle" teem with gripping melodic moments, while a suitably chivalrous mood dominates "Cortege/Queen's Champion" and profound sorrow permeates "Departure."
The 12 cues created for The King's Thief are similarly captivating. "Pursuit," "Defeat" and "Duel/Finale" communicate a stirring and aptly swashbuckling air, with "Plots and Plans" providing a softer, more amorous ambiance. Over a dozen bonus tracks, selected from both pictures, make up the remainder of the second platter, offering alternate and revised performances of various compositions. A glossy, 24-page booklet accompanies the collection, furnishing a detailed analysis of the music and in-depth background information about each film.
Stately scores for sweeping sagas
Between the gorgeous on-screen vistas, glorious pageantry, gallant warriors and requisite palace intrigue, it's easy to forget just how much research and effort goes on behind the scenes to ensure that movies like Knights of the Round Table and The King's Thief appear alluring and at least marginally authentic. Though the melodies for the productions are undeniably modern, Rózsa's study of medieval music, which, according to the liner notes, he initially conducted for his work on the film Ivanhoe (1952), adds substance and subtle sophistication. As a result, the cues are unfailingly invigorating and expressive.
Blaring horns and galloping percussion ignite "First Battle," masterfully imparting elements of tension, trepidation and elation. Intermingling bracing themes for Arthur and Lancelot with Modred's dark motif, this energetic Knights of the Round Table cut fuses brassy, time-honored splendor with arresting symphonic agitation. "The Quest/Distant Thoughts/Dreams" utilizes a sensuous harp, mournful cello and soft strings to fashion a restrained yet equally regal environment, with the sweet "Source Music Suite"—an extra track located on the subsequent CD—brimming with brief choral passages and traditional Celtic and English
instrumentation.
With a running time of nearly 19 minutes, "Mission/Frameup/Prison/Chimney/Breakthrough/Belltower/Descent" is clearly the standout sequence in The King's Thief, supplying a diverse assortment of sinister and stately tones. The pieces on the second disc are generally less intricate than those on the first, yet both the
Knights of the Round Table and The King's Thief scores are consistently exciting and evocative.
