John Scott: Dr. Jekyll and Mr. Hyde (1920) Silent Film Score / Hollywood Symphony Orchestra (2003)

ABOUT THE SCORE: In 2003 John Scott was commissioned to write his first of several silent film scores, in this case for the 1920 Paramount adaptation of "Dr. Jekyll and Mr. Hyde", starring John Barrymore in the titular role(s). Scott tackled the familiar tale of a fetching medical doctor by day, hideous monster by night with a varied score rooted in tragedy, mischief and macabre flamboyance - tongue often planted firmly in cheek without ever coming across as condescending toward the material. Those familiar with early-career Scott efforts like "A Study in Terror", "Berserk" or 1992's mini-series ”Witchcraft" will find themselves in familiar territory, albeit filtered through a more distinctive sound that Scott had refined into a highly personal voice by the early aughts. As such, the score is a more harmonically-distinct and in many ways, creative effort than those two early scores especially, which should be no surprise given the decades of experience between their inception, and the inherently rich canvas offered by silent films.
A central theme for Barrymore's character is explored in many guises, often abound in an operatically tragic hue; the theme opens this suite on solo violin before exchanging phrases between woodwinds and the fuller ensemble. Of note is the evocative and expansive development heard in its secondary phrase (1:55), where a roiling idea is passed between horn and sonorous trumpet atop a bed of churning string and percussion textures. This motif will be given a few later airings (see 18:45 and 20:03 for softer woodwind utterances of momentary respite).
2:48 introduces a lurid, intentionally-garish and pastiche-sounding “exotic dance” associated with Gina, a dancer portrayed by Nita Naldi. Complete with castanets and all manner of ornamented embellishments, it’s perhaps the most memorable idea in the score. This theme is given its grandest exposition early on, though it does crop up in a few more sedate iterations later in the score (see 23:36, where dreamy harp and strings intone the melody one final time). 8:10 then introduces an almost Elfman-esque trotting motif to poke musical fun at the extravagance of wealthier secondary characters Dr. Jekyll rubs shoulders with early on in the tale; also with its tongue planted firmly in its cheek, there is nonetheless a lovely and all-too-brief woodwind refrain at 9:19 that imbues a bit of humanity to the pageantry of the proceedings. A bucolic and highly optimistic love theme for flute and harp is dreamily invoked at 11:12, and returns in similar arrangements thereafter. It's slight, but rounds out the battery of themes quite nicely.
Lastly is a theme for the evil Mr. Hyde - explored the least in this suite overall though extensively in the full score - often voiced on low woodwinds beneath slithering string textures, such as at 15:22, and again at 17:51 on brass and pulsing low string support. While this is unmistakably a motif for Mr. Hyde and his wicked antics (See it augmented by musical “stabs” at 18:26, synchronized with a act of brutal murder in the film), it is often used interchangeably with the principal Dr. Jekyll theme, treating the character less as a bumbling monster and more as a tragic human being. As Dr. Jekyll gives himself fully to his Mr. Hyde persona at 21:47, dissonant woodwinds and plucked pizzicato strings evoke his final, monstrous form - a bit of outright dissonance in an otherwise tonal work. Finally, the principal theme is given dramatic, airy statements near the climax, closing out the tale with macabre grandeur.
Elsewhere are dour themes associated with London’s impoverished, a chipper trumpet-driven motif for bumbling children and, of course, a generous helping of macabre music associated with Hyde's antics throughout the 80-odd minute full score.
While not quite as varied or crowd-pleasing as Scott’s magnificent silent film score for 1922’s “Robin Hood” (written several years after this), "Jekyll and Hyde" is nonetheless a worthy entry in his pantheon of consistently excellent orchestral works - filled with the memorable themes, unerring dramaturgy and orchestrational finesse one expects from John Scott. The Hollywood Symphony Orchestra plays here with gusto and pep under Scott’s enthusiastic baton.
ABOUT THIS RECORDING: John Scott conducted the premier with the Hollywood Symphony Orchestra in a live-to-picture concert on Sunday, May 18 at 7:30 pm in the Haugh Performing Arts Auditorium of Citrus College in Glendora, California, and subsequently recorded the score with the same orchestra (from which this recording is derived, though I have no information about the venue nor date of this recording - except that it was also carried out in 2003 with the same ensemble). The score was prepped for a JOS Records release which, sadly, never materialized.

[@miguelmorales3016]

Muy hermosa la partitura! Hace falta más música con esta calidad, delicadeza y finura en este mundo! Muchas gracias por compartir esta joya!

[@avilesbeach]

Thanks!!!