Self-educated musician since his beginnings on the London music-halls, this influence is clearly discernable on the music of the great Charles Chaplin: dance numbers, melodies easy to sing, clean and plain harmonies, all these overflow his simple but charming scores -and the famous theme of Limelight (1952) is and excellent example-. However, until 1931 with City Lights, Chaplin didn't decide to put music on his films; in fact, as he did comment, he limit himself to la-la-ing leaving the job to write on paper to the arranger Arthur Johnson, including the well-know use of La Violetera from maestro Padilla. More resourceful and original is the 1936 music for Modern Times, a mute oddity on the sound movies time, but which allow him to combine his characteristic melodies along with curious imitations of mechanical sounds. His other long films had to wait a lot of years till Chaplin decide to add them some original music: First, in 1942, with The Gold Rush, when he re-edit the film, and put on it music and effects; and on his last years of life when supported by the critic and public fervour to his work, he prepare scores for The Kid and The Circus. Light, nice music, of pleasent content and sound case, it will not pass Chaplin to the History as an eminent composer, but the historical value of this record, and the obvious love of composer/conductor Carl Davis for this music, makes it much more interesting than its proper content, on which it is represented all his mute long films, with the exception of the one which will become his last work on recovering his first masterpieces, the 1976 score for A Woman of Paris (1923). M.A.F.

The Kid (1921 - Score of 1971) - 14:10
The Gold Rush (1925 - Score of 1942) - 18:31
The Circus (1928 - Score of 1970) - 13:04
City Lights (1931) - 15:05
Modern Times (1936) - 16:59
Arranged and Restored by Eric Rogers, Eric James, Arthur Johnson, David Raksin and Carl Davis
Deutsches Symphonie-Orchester, Berlin - Conductor: Carl Davis
/ RCA VICTOR 09026-68271-2 / 78'

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