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Classic Film Scores for Bette Davis [Soundtrack]

Bette Davis , Erich Wolfgang Korngold , Alfred Newman , Max Steiner , Franz Waxman , Charles Gerhardt , National Philharmonic Orchestra Audio CD
5.0 out of 5 stars  See all reviews (6 customer reviews)


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Product Details

  • Orchestra: National Philharmonic Orchestra
  • Conductor: Charles Gerhardt
  • Composer: Erich Wolfgang Korngold, Alfred Newman, Max Steiner, Franz Waxman
  • Audio CD (July 1, 1991)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: RCA
  • ASIN: B000003EM2
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #188,990 in Music (See Top 100 in Music)

1. Warner Brothers Fanfare/It Can't Be Wrong [From Now, Voyager] - National Philharmon
2. Blindness (Judith's Theme) /Winter/Resignation [From Dark Victory] - National Philharmon
3. Main Title [From A Stolen Life] - National Philharmon
4. Elizabeth [From the Private Lives of Elizabeth and Essex] - National Philharmon
5. Forsaken [From Mr. Skeffington] - National Philharmon
6. Main Title/Stanley and Roy/Finale [From in This Our Life] - National Philharmon
7. All About Eve - CLASSIC FILM SCORES FOR BETTE
8. Main Title [From All About Eve] - National Philharmon
9. Waltz [From Jezebel] - National Philharmon
10. Main Title/Rosa Moline/Train, the/Rosa's Death [From Beyond the Forest] - National Philharmon
11. Carlotta [From Juarez] - National Philharmon
12. Main Title [From the Letter] - National Philharmon
13. Main Title/Henriette and the Children/Love Scene/Finale/End Cast [from - National Philharmon

Customer Reviews

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Most Helpful Customer Reviews
9 of 9 people found the following review helpful
5.0 out of 5 stars Simply superb! January 13, 2002
This is one of about a half dozen or so recordings of classic film scores conducted by Mr. Charles Gerhardt, performed by the National Philharmonic Orchestra, and produced by Mr. George Korngold (Erich Wolfgang Korngold's younger son). These recordings were made in the 1970's, and with, perhaps, one exception, have yet to be equalled much less surpassed! Almost single handedly, they have shaped the film scores of today and made CDs of same a major profit center for the recording industry. Don't just buy this one; grab anything that has Mr. Gerhardt name on it!
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9 of 10 people found the following review helpful
5.0 out of 5 stars One of Gerhardt's Best July 25, 2002
This is one of the best albums from the classic film scores series conducted by Charles Gerhardt with the National Philharmonic Orchestra. Max Steiner composed most of the scores represented here. Max Steiner was one of the greats. My favorite cut is the "main title" from A STOLEN LIFE. This tune was uesd again in A SUMMER PLACE with Troy Donahue. Both films have their central settings in New England. This tune greatly captures the feeling of the land and sea and the people living on the New England coast. This is a lush and beatiful cd.
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10 of 12 people found the following review helpful
5.0 out of 5 stars THE BEST OF BETTE! November 22, 2003
For those who cherish those Bette Davis Golden Oldies as I do, you'll not want to be without this CD. All her most memorable film scores are here: Warner's fanfare introduces the exquisite "It Can't Be Wrong/Charlotte's Theme" from "Now, Voyager", Steiner's poignantly haunting score for "Dark Victory" the suitably regal score for "All About Eve" by Alfred Newman and the instantly recognizable theme for "A Stolen Life" - again by Max Steiner.
Korngold's score for "The Private Lives of Elizabeth and Essex" is fine as are the various scores for "Deception", "The Letter" and "All This, and Heaven Too" & "In This Our Life". When Davis made "Dark Victory" she was a bit "upstaged" by Max Steiner's score towards the final fade-out of the film. Judy Traherne ascends the staircase, says good-bye to Daffy and Don (her dogs) and quietly insists that her maid Martha leave her alone, undisturbed to die in peace: "beautifully and finely". During this shot, the angels are singing ethereally and Davis flung herself at director Edmund Goulding during reheasal and demanded: "Damn it, who's playing this scene? Max or me??" No fears. It worked. Beautifully.
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