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Intrada Special Collection, Volume 78, released 2008. TT: 54.18, 19 tracks (stereo)
by J. Fermanoglou. (Roughly translated the title means what is this they call love?) Friedhofer is credited with adapting the music and Paul Francis Webster with providing new lyrics. (Strangely enough, the film version was also recorded by Tony Perkins on one of his RCA LPs during his brief 1950s stint as a pop vocalist). Whatever its origins the melody is a haunting one and is freely developed in the underscoring. At the conclusion of the credits (track 1) Friedhofers brief vacillating sea motif is first heard as Loren rises from the watery depths to emerge (like an earthy Venus) with one of the most striking wet looks prior to Jacqueline Bisset in THE DEEP! For the mainland sequences there is a recurring theme in 7/8, a distinctive Greek/Bulgarian folk meter also used by Bartok (Instructions), and other ethnic-derived cues (Street Music). The Acropolis and Meteora monastery (On The Road) episodes feature two of the most epic cues, the latter with an orchestral build of almost Bond-ian brass. But Friedhofers most charismatic cues are for the several underwater sequences, liquid symphonic impressionism embellished with rippling harps and woodwinds and a seductive sirensong vocalise. (Phaedra Finds the Boy with its beautiful coda-conclusion, the 6.20 Nocturnal Sea). As rendered by the superb 20th Century-Fox orchestra under Lionel Newman (in beautifully spacious stereo) and overlaid with the ethereally pure soprano of Marni Nixon these are simply some of the most magical cues ever created for a mainstream Hollywood film of any era. Booklet includes lively, informative notes by Julie Kirgo and (as noted) a reprint of Friedhofers original LP comments. - Ross Care