Steiner: The Charge of the Light Brigade (CD review)

William Stromberg, the Moscow Symphony Orchestra. Tribute Film Classics TFC-1005 (2-disc set).

"Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
Rode the six hundred."

It was Alfred, Lord Tennyson's unfortunate assignment as England's poet laureate to play down one of the worst blunders in military history, the British defeat at Balaklava in 1854, and glorify the event in the poem "The Charge of the Light Brigade." That he did so to such lasting applause is a testament to his ability as a wordsmith of prodigious spin. None of which had much to do with the 1936 motion picture of the same name, its having little to do with Tennyson and even less to do with history. But, oh, what a grand piece of filmmaking it was, and as a pure adventure yarn, it's still hard to beat.  Thank three people in particular for the movie's success: Star Errol Flynn, director Michael Curtiz, and composer Max Steiner.

Executive producer and music preparer Anna Bonn explains in a booklet note that she, restorer John Morgan, and conductor William Stromberg had to reconstruct over half the score for the film using materials from the Warner Bros. catalogues and from some of Steiner's own original sketches, now housed at the Brigham Young University Film Archive. The result for this recording is the entire musical score for the film. It's almost too much of a good thing: The movie itself lasts 115 minutes; the music on this recording lasts over 100 minutes, comprising thirty-six tracks and covering two discs. You want completeness? You got completeness.

People often regard Max Steiner (1888-1971) as the "father of film music," his coming to Hollywood in 1929 and registering his first big hit with King Kong (1933), which is among the very first films to use an extensive, original, scene-specific musical score. After that, Steiner went on to do practically every big picture the Warner Bros. studio made in the Thirties, Forties, and Fifties, finally winding down his career in the early Sixties. His score for The Charge of the Light Brigade is among his finest achievements.

The music varies from the heroic to the purely descriptive, some of it Romantic, most of it underlining the action of key scenes. It begins with reflections of "Rule, Britannia!" and later shades of Tchaikovsky and others. A lovely waltz before the protagonists go off to battle is particularly touching. And so on. Needless to say, the longest segment comes near the end, where we get to the actual charge and its echoes of the 1812 Overture.

Maestro William Stromberg and his Moscow Orchestra play with a kind of demonic fury at times. From their actions, I suppose we can deduce they had a great deal of enthusiasm for the project. They and the music develop to a fevered pitch when the score builds to its final, fateful charge, the rhythms becoming increasingly faster and more intense as the doomed cavalry ride into the "jaws of death." It's a thrilling ride, to say the least.

If there is any drawback to all of this, it's that the music comes in small chunks, so many bits and pieces, that without careful attention it can all appear to merge unceremoniously into a sort of background noise. Is all of the music, in its minute completeness, really necessary?  Well, is anything really necessary for any reason? The album is a labor of love by and for people who enjoy the movie and its music, as well as simply for fans of motion pictures and the way Hollywood used to score them in the old days.

The sound, which Tribute Film Classics recorded in Moscow in 2008, is appropriately spectacular, given the scope of the movie. It's room-filling sound, with a wide stereo spread, good inner definition, and strong transient response, if a tad one-dimensional in terms of stage depth. Bass and treble are well extended, too, with a few healthy low-end wallops and a slew of sparkling highs along the way.

The presentation wraps up with a gorgeously illustrated and thoroughly documented and annotated booklet insert. I can't remember a CD package with more meticulous attention to detail. Even the two CD's are beautifully silk screened with pictures from the movie. Heck, it makes a person want to own the set just as a work of visual art, as well as a work of musical art.

Readers can find out more about Tribute Film Classics at their Web site:

Readers can find out more about the 1936 movie The Charge of the Light Brigade from my full review of the film at


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa