René Cloërec – En Cas De Malheur (In Case Of Adversity, aka Love Is My Profession) (1958)
(Edited: 01/17/2022 and 02/03/2022)
Part I
“In Case of Adversity” (French original title: En cas de malheur) is a 1958 French drama film directed by Claude Autant-Lara (1901-2000), starring Jean Gabin, Brigitte Bardot and Edwige Feuillère. In the United States, the film was released as “Love Is My Profession”. It tells the story of a married lawyer who rigs a trial to acquit a young female criminal he has become obsessed with, even to the point of imagining they might have a life together and start a family.
Raoul J. Lévy (1922-1966) and Ray Ventura (1908-1979) teamed up to produce Autant-Lara’s picture. It remained their only co-production for the director as both men separated their ways after the film’s release. But Lévy and Ventura continued to work with Autant-Lara separately. Lévy produced one more film for him and Ventura did two.
Officially, the screenplay was written by Jean Aurenche (1903-1992) and Pierre Bost (1901-1975) after the 1956 novel “In Case of Emergency” (“En cas de malheur”) by Georges Simenon (1903-1989). But in reality, Bost was too ill at the time and didn’t write a single line of the screenplay.
Cast:
Jean Gabin as Maître André Gobillot Brigitte Bardot as Yvette Maudet Edwige Feuillère as Viviane Gobillot Nicole Berger as Janine Madeleine Barbulée as Bordenave Gabrielle Fontan as Mme Langlois Jacques Clancy as Duret Annick Allières as Noémie Franco Interlenghi as Mazetti
About the score and its various releases on records and as digital formats
René Cloërec, who had already been Claude Autant-Lara's in-house composer for many years, composed the original score for “En cas de malheur”. Based on several releases of Cloërec’s score and a few cover versions of the love theme (“À t’aimer”), it’s safe to say that it was his best known and commercially most successful film score.
However, the release history of that soundtrack is a bit of a mess. There was a French EP release in 1958 on the Versailles label (90 S 233) containing four score tracks which were all untitled, in monophonic sound, and without timing indications. There’s about ten minutes of music on it. René Cloërec, being the composer, is also credited as the orchestra’s conductor. Apparently, Cloërec conducted all of his film scores himself. As an orchestra leader, he was experienced in the metier long before he became a film composer.
Here is the track list of the 1958 EP (the track titles in square brackets are mainly based on the sheet music to help distinguish all four pieces):
A1 [“En cas de malheur (Slow)”] 4:06 A2 [“À t’aimer – Version 1”] 1:54 B1 [“À t’aimer – Version 2”] 1:39 B2 [“Générique”] 2:16
Total Time: 9:54
En cas de malheur (Slow) – René Cloërec conducting the orchestra
Apart from this French EP, there is another soundtrack recording of “En cas de malheur” produced for a US LP release coupled with selection from Roman Vlad’s 1959 score “Where the Hot Wind Blows” (aka “The Law”; original French title “La Loi”, Italian title “La Legge”). Claude Vasori [erroneously credited on the LP as “Claude Vasari”] conducts Vlad’s music. Ray Ventura who, as we know, also co-produced the film “En cas du malheur” conducted six tracks from its score. He probably also rearranged the music for the occasion.
Obviously, the US LP didn’t feature the French film title “En cas de malheur” but the one used for distribution in the States: “Love is my Profession”. A picture of Brigitte Bardot from "En cas de malheur" graced the full colour front cover of this album. At the time, she was still a rising star. On the backside of the LP sleeve, a photograph of Gina Lollobrigida who starred in "La Loi" can be admired. But contrary to what one might expect, Vlad's music is to be found on the A side of the LP and Cloërec's on the B side. The music tracks composed by Vlad have individual titles, but the six pieces by Cloërec have no titles at all – just like the French EP.
The LP recording was released on the Everest label in 1960. It had releases in mono (LPBR 5076) and in stereo (SDBR 1076). Both versions had multiple reissues at the time but the label numbers remained the same. In 1963, the identical LP programme but with completely different cover art was then released in Australia on the World Record Club label, one in mono (PLE-845, PLE/845) and one in stereo (SPLE-845, PLE/845 – obviously, it’s the same number on the mono LP but it has a “Stereo” sticker on the front cover with a big letter “S” and the words “WORLD STEREO”; the different prints of the disc labels also help identify which release is in mono or stereo). – World Record Club was a club founded in England in the 1950s with branches in Australia and New Zealand; it could be that the English branch also had the LP but it’s rather unlikely as there are no data available that an English pressing actually existed.
En cas de malheur (1958) – Soundtrack (Stereo Suite) – Ray Ventura conducting the orchestra
0:00 Main Title 2:06 Love Theme 4:00 Tender Feelings 6:49 Romantic 9:13 Finale 12:20 In Love
Some additional and important informations on Cloerec´s EN CAS DE MALHEUR for you, Sehnsuchtshafen, and also for all the others who are interested in Cloerec and his music: You have to listen carefully and then you will notice that both the "Générique" and the "Finale" on the LOVE IS MY PROFESSION LP do come from the original recording of the film and have not been re-recorded. The EP has the original recording of the "Génerique" anyway. Although credited to Ray Ventura on the LP in 1960, they nevertheless apparently took the Main Title and Finale from the original recording and didn´t record it anew. The same can be said for those two tracks on the Cloerec Play-Time CD compilation. All the tracks on the Play-Time CD come from the US LP. You can immmediately hear the fuller orchestra in the Main Title and that it is more dramatically played than the other tracks interpreted by Ray Ventura and his Orchestra which partly sound nice, but partly also much too "schmaltzy" and then go into easy listening terrain. I have also compared the Finale track with the one in the film itself - and yes, it is totally obvious that we are talking here about one and the same original recording of that track. This means that these two tracks on the Play-Time compilation come from the original recording, the remaining four tracks on the LP however are the ones re-recorded by the Ray Ventura orchestra (with a lot of reverb too!) The swirling strings during the first 30 seconds of the Main Title always remind me a bit of Sarde´s later LE TRAIN. It could even be that he was somewhat influenced by this part of the score when writing LE TRAIN.
Besides the first track "Thème d´amour - Version Jazz" - of which I am not quite sure if it appears that way in the film or if it was re-recorded for the EP and I would have to check the film again - all the other tracks on the Versailles EP which got released on January 1st 1959 do come from the original recording. No question about that. The two romantic pieces A2 and B1 are played with much more passion and dedication than the Ray Ventura version. Listen yourself as this is immediately noticeable when comparing them with the Ventura re-recordings of the love theme: https://www.youtube.com/watch?v=y9gQfJ8OgPY https://www.youtube.com/watch?v=t_f6ik7eCCQ&list=OLAK5uy_kKqlODz0-6MNwy18-3NMJwCkCDKdgucTI&index=2
It is a pity that Stéphane Lerouge apparently didn´t have the EP master available anymore when he produced the Cloerec compilation on Play-Time in 1993.
Still a few words about the Roman Vlad score LA LOI: Here the same is true as for EN CAS DE MALHEUR. The French EP with a few tracks of Vlad´s score has the original recording whereas the US LP only the Claude Vasori (not Vasari) cover version. They sound totally different. I also have the EP and therefore can definitely tell you this.
Besides the first track "Thème d´amour - Version Jazz" - of which I am not quite sure if it appears that way in the film or if it was re-recorded for the EP and I would have to check the film again
In the meantime I have checked the film again and this music indeed appears in the film at about minute 59. It is a dance music sequence where Brigitte Bardot and Franco Interlenghi are dancing to the strains of this jazz version of the love theme. This really means that all the four tracks on the Versailles EP come from the original recording of the score. And at least three of them are not on the Cloerec compilation CD.
I will go into the editorial mess of the released recordings in Part II -- very extensively like a super nerd. It's even more complicated than one thinks.
Above all the track sequencing on the Cloerec CD and on the LOVE IS MY PROFESSION LP is of course quite different, but in my opinion all those tracks which are on the LP are also on the Play-Time CD. Or do you mean even other things which are different between EP, LP and CD?
I have also compared the Finale track with the one in the film itself - and yes, it is totally obvious that we are talking here about one and the same original recording of that track.
Ok, after a close comparison with the film itself I see now what Sehnsuchtshafen means with "it´s more complicated than one thinks". The Finale track on LP and CD - which is the original recording and was not re-recorded by Ray Ventura - even consists of two parts and the first minute of it is in fact not the "Finale" of the film at all, but underscores the robbery scene very early in the film when Brigitte Bardot flees from the watchmaker´s shop after having beaten an old lady. For the LP the music for this scene has been edited together with the real "Finale" in the film which can then be heard afterwards during the last two minutes of this track. So the Finale on the LP (and later on the CD) actually consists of two different tracks from two completely different film scenes. However, the middle part - more than a minute of music which I find particularly beautiful and moving - of the film´s long Finale track (which has a duration of about 3 1/2 minutes) has unfortunately been cut for the record version.
I'm still comparing all elements I have at my disposal. It's tedious but also fun at the same time.
I will soon present my findings. Maybe tomorrow or a bit later as I'm not sure how fast I can wrap this one up. I'm working on the topic - on and off - for a couple of weeks now.
In the mean time, have fun with the music and watch the film, the uncut version that is.
I'm still comparing all elements I have at my disposal. It's tedious but also fun at the same time. I will soon present my findings. Maybe tomorrow or a bit later as I'm not sure how fast I can wrap this one up. I'm working on the topic - on and off - for a couple of weeks now.
I am anxious to hear about your results. As you have posted now the film version of the Main Title, I have thoroughly compared all the three releases with excerpts of the score and it is indeed crazy. I haven´t listened that closely to the tracks on the US LP LOVE IS MY PROFESSION before and had quite simply thought that the "Générique" is the same version as that on my Play-Time Cloerec CD compilation (as all the other tracks from the LP are). But this is not the case and I don´t quite understand it why. Where did Lerouge get this original recording of the "Générique" from for the Play-Time CD as he apparently had no access to the Versailles EP album master? Or did he take it directly from the EP? The recording which can be heard on the US LP comes close, but the original version which is both on the Play-Time CD and on the EP is more fast-paced and played in an even more intense and dramatic way. On the other hand, I still have my doubts whether the US LP version of this track has been really performed by the Ray Ventura orchestra as the sound is so much different to the romantic tracks B2-B4 + B 6 which then appear after this "Générique". What´s your opinion? Of course, the "Génerique" on EP and Play-Time CD has those additional ca. 25 seconds at the end, not all of which can be heard in your film version. But we are talking in all three cases about the same original recording. I am quite sure about that.
However, after listening two or three times more to the "Finale" track on the US LP and on the Play-Time CD and after having compared the track again with how this music appears in the film, I think I have to revise what I have written about it in my posting above. It is unbelievable. It comes very close to the original recording in about the same way as the "Générique" on the LP does, but there are some small details where you can hear slight differences and also the orchestra seems to be even a bit larger in the film version. Nevertheless, also here I have a bit my doubts if this is really a re-recording by the same Ray Ventura orchestra. For the "Générique" and for this "Finale" the sound and also the orchestra itself seems to be quite different if you compare them with the other four tracks on the LP. Very strange. Lets see what you have found out about this in the meantime.
What a great thread - I want to thank both Stefan and Sehnsuchtshafen for the fascinating information, discussion, and links. This is a wonderful score and - though it has been a while since I viewed it - I recall really liking this film, too.
I've been sidetracked the past few days. Part two will come this week. I just have to digest all the input by Stefan and the see what fits in where.
If anybody has the all-MONO versions of the Ray Ventura LP recordings that would help the case considerably. I don't think they were used for the Cloërec CD from 1993.
If anybody has the all-MONO versions of the Ray Ventura LP recordings that would help the case considerably. I don't think they were used for the Cloërec CD from 1993.
I have found an age-old audio cassette with the LP tracks in my collection which I had received about 30 years ago from a friend and which was my first encounter with the LP album. The tracks on this audio cassette are all in mono and it seems to me that they come from the mono LP he had - but music-wise I hear no difference to the stereo LP tracks. Do you really think that different recordings were used for the mono and stereo LP albums? I don´t believe this and I have never heard about it. It is rather that - as so often happened around 1960 - a mono LP was typically issued for all those people who still had no stereo turntable at that time. Besides, there are no timings for all the individual tracks on side B - neither on the mono nor on the stereo LP. So I wonder a bit where you got the different timings for the Main Title with 2:06 (stereo LP) and 2:17 (mono LP) from if you don´t know the mono LP at all?
If anybody has the all-MONO versions of the Ray Ventura LP recordings that would help the case considerably. I don't think they were used for the Cloërec CD from 1993.
I have found an age-old audio cassette with the LP tracks in my collection which I had received about 30 years ago from a friend and which was my first encounter with the LP album. The tracks on this audio cassette are all in mono and it seems to me that they come from the mono LP he had - but music-wise I hear no difference to the stereo LP tracks. Do you really think that different recordings were used for the mono and stereo LP albums? I don´t believe this and I have never heard about it. It is rather that - as so often happened around 1960 - a mono LP was typically issued for all those people who still had no stereo turntable at that time. Besides, there are no timings for all the individual tracks on side B - neither on the mono nor on the stereo LP. So I wonder a bit where you got the different timings for the Main Title with 2:06 (stereo LP) and 2:17 (mono LP) from if you don´t know the mono LP at all?
Yes, some minor revisions of Part I will be necessary when the time has come.
I have only heard the stereo LP tracks not the mono LP, and, I didn't say different recordings were used for the mono and stereo LPs as I don't know that. How could I?
One more thing, the mono recordings on the Playtime CD are most likely not the same recordings as those featured on the mono LP, I presume. But as I haven't heard the mono LP I won't be able to tell. That's why it would be helpful to hear the mono LP tracks or get reliable info how they sound like compared the the stereo tracks, and what length they are. Certain is, that the stereo LP tracks are different recordings compared to those on the CD compilation (with the exception of the two lighter dance tracks, rearranged for airplay most likely), and all six stereo LP tracks are in true stereo.
Initally I thought those mono/stereo tracks were just different mixes as they are in their duration as long as the stereo mixes from the LP -- with the exception of the main title (générique) track which is clearly not the same in stereo and mono. -- When you have digital files of the recordings (=> stereo LP and stereo/mono CD) you can compare the timings.
I really hope I can lay this out in more detail very soon. It will be a long text piece that's still growing.
One more thing, the mono recordings on the Playtime CD are most likely not the same recordings as those featured on the mono LP, I presume. But as I haven't heard the mono LP I won't be able to tell. That's why it would be helpful to hear the mono LP tracks or get reliable info how they sound like compared the the stereo tracks, and what length they are. Certain is, that the stereo LP tracks are different recordings compared to those on the CD compilation (with the exception of the two lighter dance tracks, rearranged for airplay most likely), and all six stereo LP tracks are in true stereo. Initally I thought those mono/stereo tracks were just different mixes as they are in their duration as long as the stereo mixes from the LP -- with the exception of the main title (générique) track which is clearly not the same in stereo and mono.
It is obvious that the Générique is the original recording on the CD compilation (but where does it come from if it wasn´t on the LP and if the 25 seconds at the end are overlaid with sound effects in the film itself?) and a re-recording on the LP - just as I had written it above. Regarding the other tracks I can´t hear much difference between the ones on the LP and those on the CD compilation. So I am anxious to hear what it really is that you have found out. I think that they have tried at least partly to give the music a bit of a stereo effect on the Cloerec CD compilation, but are you sure these are totally different recordings? I just compared "Thème d´amour" and "Finale" on the CD and on the LP, but I must say that music-wise I hear no difference at all. The mixes may certainly be a bit different here and there as you have true stereo on the LP and some rather artificial stereo effects on the CD, but besides that? If these are really different recordings, then the differences must be so subtle that they are hardly noticeable. Above all the music which is performed for me is one and the same. As to the interpretation of the love theme, I must say that in any case I prefer the two tracks with the original recording on the EP to the versions on the LP. Unfortunately, the sound quality of the old audio cassette with the LP tracks I have is rather poor and there is an over-dominance of the left channel, but at least I can´t hear any stereo. To be sure, I will ask my friend this evening whether he has the mono or the stereo LP.
It is obvious that the Générique is the original recording on the CD compilation (but where does it come from if it wasn´t on the LP and if the 25 seconds at the end are overlaid with sound effects in the film itself?) and a re-recording on the LP - just as I had written it above. Regarding the other tracks I can´t hear much difference between the ones on the LP and those on the CD compilation. So I am anxious to hear what it really is that you have found out. I think that they have tried at least partly to give the music a bit of a stereo effect on the Cloerec CD compilation, but are you sure these are totally different recordings? I just compared "Thème d´amour" and "Finale" on the CD and on the LP, but I must say that music-wise I hear no difference at all. The mixes may certainly be a bit different here and there as you have true stereo on the LP and some rather artificial stereo effects on the CD, but besides that? If these are really different recordings, then the differences must be so subtle that they are hardly noticeable. Above all the music which is performed for me is one and the same. As to the interpretation of the love theme, I must say that in any case I prefer the two tracks with the original recording on the EP to the versions on the LP. Unfortunately, the sound quality of the old audio cassette with the LP tracks I have is rather poor and there is an over-dominance of the left channel, but at least I can´t hear any stereo. To be sure, I will ask my friend this evening whether he has the mono or the stereo LP.
1) Générique (film version) is just about 2 seconds faster than what's on the EP and CD. They might be the same recording with faster speed on the film version (the copy I have). There are also obvious sonic differences on all three elements which can give the impression there might be differences in the mixing. The stereo LP version is clearly a different recording slower in tempo, and yet shorter.
2) The stereo LP tracks have distinguishable separations of the instrumental sections. The dance tracks feature even more distinct separation for some solo parts. Those two are also in stereo on the CD. - Just listen to the stereo suite of the LP programme that's embedded in the first post of this thread. You should hear it there.
3) Tendre sentiments on the CD is strange. Sometimes you might get the impression there is no clear center balance (my words - I'm just an audio layman). It sounds perhaps more like damaged tape.
1) Générique (film version) is just about 2 seconds faster than what's on the EP and CD. They might be the same recording with faster speed on the film version (the copy I have). There are also obvious sonic differences on all three elements which can give the impression there might be differences in the mixing.
That the film version is about 2 seconds faster (just by listening to it this is hardly noticeable) might have to do with the typical DVD speed which is 25 fps and not 24 fps - therefore just a bit faster than if the film is shown in a cinema theatre. But the recording is the same as the one which can be heard on EP and on CD. That´s absolutely clear from the passionate way in which the music gets performed and how certain sections and instruments are emphasized.
2) The stereo LP tracks have distinguishable separations of the instrumental sections. The dance tracks feature even more distinct separation for some solo parts. Those two are also in stereo on the CD. - Just listen to the stereo suite of the LP programme that's embedded in the first post of this thread. You should hear it there.
I fully agree with you that the LP tracks have much more distinguishable stereo separation than the ones on the CD. You can really hear solo instruments in one channel quite clearly which you can´t in the same track on the CD. Nevertheless, this doesn´t make it a different recording for me. These would be only quite different mixes of the same recording as Lerouge apparently didn´t have the original stereo tapes of the LP album at his disposal.
In the meantime, I continued to research the music for "En cas de malheur" and I've also stayed in contact with Stefan Schlegel. I greatly thank him for all his valuable advice and great help, which enabled me to sort through the imbroglio surrounding the various releases of Cloërec's score. Some fascinating information has come to light in the process.
Instead of the planned two-parter, there will be three parts. For this reason, it was necessary to revise the first part thoroughly. I recommend that you read that text again, as I have made a few corrections and included some additional information that I had not taken into account before. It will be useful if you want to better comprehend the follow-up.
So here is the part two, and the third will follow later this week.
Part II
Here is the track list of the 1960 LP (the titles in square brackets are based on the 1993 Playtime CD release):
* Compared to the mono track [“Générique”] heard on the EP release and its later reissue on the Playtime CD, the stereo LP recording features some obvious differences in length (shorter in stereo), tempo (slower in stereo) and arrangement (various alterations). The actual film version of this track is even slightly different compared to the EP/CD version. That difference occurs between second 9-19 at the beginning of the track where five bass strokes are significantly mixed in louder in the film version than on the EP/CD versions.
So, technically speaking, there are two different recordings of the Main Title of which, all in all, four different versions appear to exist today: one recording in mono for the film and EP release conducted by René Cloërec – they were, however slightly differently mixed as already mentioned, and secondly, there’s the stereo recording conducted by Ray Ventura for the US LP release which had also a mono release.
1) Cloërec recording, mono, film version (1958) 2) Cloërec recording, mono, EP version (same recording as 1, alternate mix) (1958) 3) Ventura recording, stereo, LP (1960) 4) Ventura recording, mono, LP (same recording as 3 mixed down in mono) (1960)
** The actual mono LP track was not available for reference. But its track length on the stereo LP is the same as the mono version heard on the Playtime CD.
At the time, other artists like Eddie Barclay (1921-2005), Gorni Kramer (1913-1995) and Pete Rugolo (1915-2011) recorded instrumental arrangements of Cloërec’s love theme as well. Apparently, that piece got even turned into a song titled “À t’aimer” (in English: To love you) with lyrics written by Henri Contet (1904-1998).
The Italian take on Cloërec’s main theme from "En cas de malheur" was done by veteran bandleader Gorni Kramer (1913-1995). He titled it “L'amore m'hai dato” (The love you gave me). Records of it were released in Italy (Mio zio, Combo Record – EP 10061) and France (Mon oncle - En cas de malheur - Commissaire Maigret, Disques Holiday – CO 6002).
Eddie Barclay – À t'aimer (1959)
Pete Rugolo – À t'aimer (1960)
To make things more complicated for you, in the year 1993 the French label Play Time released the one and only René Cloërec CD that exists today as part of the label’s series “Collection Play Time – Les Compositeurs”. It’s a compilation that came together thanks to Stéphane Lerouge and the composer himself who was still alive at the time. The release has the generic title “Les Plus Belles Musiques de Films de René Cloërec” (The most beautiful film music by René Cloërec) (PL9307/642307).
On this CD, you can hear six tracks from the score of “En cas de malheur”, and those tracks need to be looked at very closely now. At first, you might think it’s just a reissue of what’s on the US LP, or, maybe the entire EP programme with some more music from the film. Only after a careful comparison of these CD tracks with the pieces on the EP and LP a few rather surprising discoveries will be made. It should also be noted that the credits in the CD booklet aren’t all that accurate, and therefore they can be misleading if you don’t know any better (more about that later).
* Mono recording conducted by René Cloërec ** Mono mix of recording conducted by Ray Ventura *** Stereo recording conducted by Ray Ventura ° Reversed channels with strings on the right and slightly different stereo mix compared to the LP version °° Mono mix giving the impression of fake stereo with music not at all in center between left/right speakers but coming from both sides °°° Left/right channels switched, otherwise it would be the same stereo-mix used for the LP
I’d like to get back at what Stefan said or asked in a few of his previous postings that I haven’t been able to address. Even at the risk that more Cloërec clients get lost in the jungle. – I hope not.
If there’s something else I’ve left out and that needs to be brought back into light just say it. Anyway, more info will follow in Part III very soon.
(Edited: 01/27/2022)
1) The swirling strings during the first 30 seconds of the Main Title always remind me a bit of Sarde´s later LE TRAIN. It could even be that he was somewhat influenced by this part of the score when writing LE TRAIN.
I haven’t seen that film but I know the music as released on CD. Is this Sarde’s “Attaque” track you’re referring to? If it is I doubt there’s a conscious link to Cloërec’s score. Film music-wise it’s closer to Herrmann’s Psycho or some other Previn-esque hysteria.
2) Besides the first track "Thème d´amour - Version Jazz" - of which I am not quite sure if it appears that way in the film or if it was re-recorded for the EP and I would have to check the film again - all the other tracks on the Versailles EP which got released on January 1st 1959 do come from the original recording. No question about that. The two romantic pieces A2 and B1 are played with much more passion and dedication than the Ray Ventura version. […] In the meantime I have checked the film again and this music indeed appears in the film at about minute 59. It is a dance music sequence where Brigitte Bardot and Franco Interlenghi are dancing to the strains of this jazz version of the love theme.
By all means, the EP tracks are interesting. I will address that issue in the upcoming Parts.
3) The Finale track on LP and CD - which is the original recording and was not re-recorded by Ray Ventura - even consists of two parts and the first minute of it is in fact not the "Finale" of the film at all, but underscores the robbery scene very early in the film when Brigitte Bardot flees from the watchmaker´s shop after having beaten an old lady. For the LP the music for this scene has been edited together with the real "Finale" in the film which can then be heard afterwards during the last two minutes of this track. So the Finale on the LP (and later on the CD) actually consists of two different tracks from two completely different film scenes. However, the middle part - more than a minute of music which I find particularly beautiful and moving - of the film´s long Finale track (which has a duration of about 3 1/2 minutes) has unfortunately been cut for the record version.
The Finale track of the LP consists of (at least) two rearranged cues from the original score newly recorded by Ray Ventura. The orchestration is very close to what Cloërec had done with his score as used in the film. By the way, I don’t know if Cloërec used an orchestrator or if he did all himself. Yes, if we only had more of the music on record. At least there are 15 minutes in full stereo. I hope Everest still has the master tapes.
4) Where did Lerouge get this original recording of the "Générique" from for the Play-Time CD as he apparently had no access to the Versailles EP album master? Or did he take it directly from the EP?
Well, in the meantime, we’ve found out that, according to Lerouge, the source material were acetate discs. I will elaborate more about this issue in Part III as the acetate story is not a satisfactory one.
5) On the other hand, I still have my doubts whether the US LP version of this track has been really performed by the Ray Ventura orchestra as the sound is so much different to the romantic tracks B2-B4 + B 6 which then appear after this "Générique". What´s your opinion?
My opinion is, that Ray Ventura conducted all the music that’s on the LP. Ventura, as a conductor, apparently was able to record some of Cloërec’s music with less Schmalz. I can honestly say, I also like the two lighter pieces very much for what they are. I got the impression these two tracks were even considered for a release on a 45 rpm single that never came about.
6) Nevertheless, also here I have a bit my doubts if this is really a re-recording by the same Ray Ventura orchestra. For the "Générique" and for this "Finale" the sound and also the orchestra itself seems to be quite different if you compare them with the other four tracks on the LP. Very strange. Do you really think that different recordings were used for the mono and stereo LP albums?
No, I don’t (see also Part II). This was just an option to try to explain something, that, at the time, I didn’t know any better. After your confirmation, that the “Générique” track on the mono LP is the same music and of the same length as the counterpart on the stereo LP release I see no reason to belief the other five tracks were recorded separately for either release. Ventura’s stereo recordings were just mixed down into two versions (mono/stereo). The only thing in this context, that still bothers me, is this: I would like to listen to a clean copy of the LP mono tracks. I’d like to know how they sound in comparison to the tracks on the Cloërec CD compilation as I wonder if those peculiar effects on the CD mono tracks are on the LP as well. But as you might know. The LP has become quite rare, especially in near mint condition.
7) So I wonder a bit where you got the different timings for the Main Title with 2:06 (stereo LP) and 2:17 (mono LP) from if you don´t know the mono LP at all?
I think, I’ve answered that one before. You find it now laid out in even greater detail in Part II. Initially, I thought the mono “Générique” on the CD (which is also the same on the EP) might also be the one on the mono LP. This further let me believe that they’ve recorded two separate versions for the LP editions. Now, I know better thanks to your help here.
8) It is obvious that the Générique is the original recording on the CD compilation (but where does it come from if it wasn´t on the LP and if the 25 seconds at the end are overlaid with sound effects in the film itself?) and a re-recording on the LP - just as I had written it above. Regarding the other tracks I can´t hear much difference between the ones on the LP and those on the CD compilation. So I am anxious to hear what it really is that you have found out.
There were two recordings of the “Générique” of which at least four different versions now exist (see all the details now in Part II).
9) I just compared "Thème d´amour" and "Finale" on the CD and on the LP, but I must say that music-wise I hear no difference at all. The mixes may certainly be a bit different here and there as you have true stereo on the LP and some rather artificial stereo effects on the CD, but besides that?
They are apparently sourced from the same recording, but there are minor mixing differences (see Part II for all the details necessary).
10) As to the interpretation of the love theme, I must say that in any case I prefer the two tracks with the original recording on the EP to the versions on the LP.
I also like the Ventura recording. I think the stereo recording is just priceless because it is in stereo. That makes it so special for me. But I also hope the EP tapes are still around and will be released, the sound fully restored at its best possible way.
11) That the film version is about 2 seconds faster (just by listening to it this is hardly noticeable) might have to do with the typical DVD speed which is 25 fps and not 24 fps - therefore just a bit faster than if the film is shown in a cinema theatre.
I don’t know what source the film was that I’ve used to extract the audio to present the film version of the “Générique”. It must have been a DVD. Like you, I’ve suspected this to be the reason for such a difference which must have been caused by the 25 fps source material that’s about two seconds faster within the time frame in question compared to a source at 24 fps. As I’ve explained in Part II there’s a small but significant mixing difference between the film version and the version released on the EP, and also later on CD.
12) Nevertheless, this doesn´t make it a different recording for me. These would be only quite different mixes of the same recording as Lerouge apparently didn´t have the original stereo tapes of the LP album at his disposal.
Again, see Part II. There were basically two recorings: One made in France in 1958, conducted by Cloërec, to underscore the film, and, another for the LP release, conducted by Ventura at a later time somewhere (exact location and date remain unknown to me).
Regarding the source material at Lerouge’s disposal, we can only speculate. We have the info that’s public and in print on the Cloërec CD compilation, and we have a couple of Lerouge interviews where he spills some beans. But still, some open questions remain. I will go into that in the subsequent parts.
The swirling strings during the first 30 seconds of the Main Title always remind me a bit of Sarde´s later LE TRAIN. It could even be that he was somewhat influenced by this part of the score when writing LE TRAIN.
I haven’t seen that film but I know the music as released on CD. Is this Sarde’s “Attaque” track you’re referring to? If it is I doubt there’s a conscious link to Cloërec’s score. Film music-wise it’s closer to Herrmann’s Psycho or some other Previn-esque hysteria.
Yes, it´s the "Attaque" track from LE TRAIN I thought about when listening to the swirling strings of the "Générique". They didn´t remind me that much of the Herrmann score. But of course that´s just my personal perception of the music.
There were basically two recorings: One made in France in 1958, conducted by Cloërec, to underscore the film, and, another for the LP release, conducted by Ventura at a later time somewhere (exact location and date remain unknown to me).
It is at least obvious that the LP recording was made mainly for the US or international market whereas the EP was limited just to the French market. The Everest LP was released only in March 1960 (this info can be found via Google in a short Billboard article of that time), although the LOVE IS MY PROFESSION movie got released in US cinema theaters much earlier, namely in April 1959. On the other hand, WHERE THE HOT WIND BLOWS - which got re-recorded for side A of the LP - didn´t get released in the USA before November 1960. It almost seems that the decision to re-record at least some of Cloerec´s music for the US LP was therefore made after the movie had appeared there in April 1959.