Goldsmith's small orchestral group, consisting of 25
strings and woodwind players, provides a background for the
representations of rural living: guitars, banjo, recorder, harmonica,
harp, and accordion. Key to their success is Goldsmith's primary theme,
a bubbly, likable folk tune over the composer's recognizable rhythmic
movements. This personality resembles his 1960's Western works closely,
particularly
Wild Rovers, especially in its lyrical presentations
of long-lined themes. There are no unpleasant cues in this short but
smooth listening experience, "The Christmas" best combining all of the
specialty instruments into one cue. While none of the master tapes of
music from "The Waltons" has survived, Film Score Monthly managed to
restore the remaining elements from "The Homecoming: A Christmas Story,"
and sound quality is normal for that period. Taking up the majority of
the CD release of the Goldsmith score is Horner's "Rascals and Robbers:
The Secret Adventures of Tom Sawyer and Huck Finn," another CBS movie
that followed in 1982. Stylistically a good companion piece to
Goldsmith's "The Homecoming," Horner's "Rascals and Robbers" features
much of the same small-scale Americana spirit, though with a much
brighter personality. This production did not fare as well for CBS as
the one that Goldsmith had scored, met with muted attention because of
its awkward time slot and lack of really interesting characteristics.
Its plot is a fairly standard variant on the activities of Tom Sawyer
and Huck Finn, who this time spoil the exploits of swindlers in Missouri
through their usual creative ways. Aside from a few notable supporting
actors involved, the only footnote worth mentioning truly is Horner's
contribution. The composer had been supporting himself with these kinds
of obscure television assignments (along with the Roger Corman sci-fi
schlock) for a few years, and "Rascals and Robbers" was the project
composed just before his breakthrough with
Star Trek II: The Wrath of
Khan. His recording environments for his early television scores
were often daunting, including a few that utilized the basement of a
church.
For "Rascals and Robbers," Horner was given a slightly
larger ensemble and the opportunity to record on a real stage at CBS,
and the quality of the restored work on this product is impressively
balanced and on par with his better known early 1980's albums. His group
of 37 players consists of a regular spread of the orchestral sections
but with fewer representatives of each instrument, with harmonica and
guitar added for rural color. It's remarkable to hear these early scores
by the composer for the first time, because so many of his trademarks
from later years are clearly developed within them. Aside from exotic,
East Indian distractions in the middle portion of the score, "Rascals
and Robbers" is a highly consistent exhibit of Horner's 1980's
mannerisms paraded very obvious in constant succession. The two scores
foreshadowed the most are, ironically,
Star Trek II and
Something Wicked This Way Comes. The former manifests itself in
the theme that Horner uses to express devious delight for Sawyer and
Finn, as well as for Captain Kirk. The precursor to the giddy Starfleet
theme is heard dominantly in "Rascals and Robbers," though the majority
of wholesome children's genre material is better matched to
Something
Wicked This Way Comes. Horner collectors will hear half a dozen
other trademark techniques on display in the score, and only in the
eerie, seemingly synthetic accents to the trio of suspenseful cues at
the end is anything truly original heard. There is no doubt that
"Rascals and Robbers" will have a predictable impact upon listeners;
Horner's detractors will be driven nuts by its lack or originality in
retrospect, and his collectors will find it an undemanding and
intellectually interesting glimpse into his very early writing. The 2011
FSM album containing both scores (each with their original source-like
material and bumpers recorded specifically for commercial breaks) is
well produced specifically for Goldsmith and Horner completists who seek
to appreciate such music for what it is rather than lament the
limitations of the recordings. If anything, the product exhibits
talented composers making the best of low budgets and challenging
circumstances, with effective and pleasant music that will be familiar
to today's audience.
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