The Lone Ranger (western, starring Clayton Moore and Jay Silverheels)

     (ABC Primetime, 1949 - 1957)

     (Daytime and weekend reruns aired on CBS, NBC and ABC
      until 1961...further syndication continued through the 1970s.)

     [adapted from a 1933 local Detroit radio series which became the
      core of the Mutual Radio Network, and was heard on network radio 
      through 1954; derived from B-picture serials produced by
      Republic Studios; which were based on a character in Western 
      dime novels written by the 19th-century author "O'Henry".]

Theme: "The William Tell Overture (Finale)"

    [Final section of the Overture to Rossini's Opera "William Tell"
     which was introduced in Paris as "Guillaume Tell"]

    [Much detail about the use of music on the Lone Ranger series,
     its origins and use for serials, radio and TV; is found in the
     book "The Mystery of the Masked Man's Music" by Reginald Jones,
     published by The Scarecrow Press, in 1987.]

     Composer: Giacchino Rossini (predates ASCAP & BMI)

     Original Publisher: E. Troupenas (Paris)
     2000 Publisher: [in the Public Domain]
     Composition Date: 1829

    [The original recordings of the THEME and Cues which were
     "tracked" into episode scores for the TV series derive from
     recordings made in 1940 in a radio studio in Mexico City 
     directed by conductors Daniel Perez Castañeda and Higinio

     Background cues used on the TV series were adapted from a
     library of cues that had been assembled with the cooperation
     of Republic Studios; and the help of the NBC network music

     These cues included a number of excerpts from various
     classical warhorses like Franz Lizst's "Les Preludes" and
     the "Fingal's Cave Overture" by Felix Mendelssohn; plus
     cues from old B-picture Western films from Republic Studios
     composed by Cy Feuer, William Lava, Karl Hajos and 
     Alberto Colombo.

     The re-arrangements were mostly done by Ben Bonnell under
     contract to NBC. Apparently he was chosen since he was on
     staff. NBC had a deal to supply the re-recordings to the
     radio show producer George W. Trendle at WXYZ in Detroit. 

     Both the alterations to film cues and the re-recordings in Mexico 
     were done to get around Musician's union rules requiring high
     royalties fees paid to U.S. Musicians whether or not they
     played live. The "re-use" of a recording therefore was not
     a way of saving money if you played by union rules which were
     becoming more of an enforcement issue around 1940.

     These fees were intended by the AF of M to discourage the
     practice of "tracking" to score radio and TV with recordings; 
     but these high re-use fees had the effect of driving music 
     production for syndicated and low budget series outside 
     the U.S. (or into "dark sessions" which claimed to be done
     outside the U.S.) during much of the 1940s - early 1960s,
     until a more reasonable fee schedule came into being.]

         CD: "The Music of the Lone Ranger" (1992)
              A Cinedisc from "CinemaSound Records" CDC 1019 
              Manufactured by: 
                Intersound, Inc. 
                11810 Wills Rd. 
                P.O. Box 1724 
                Roswell, GA  30077 
             Distributed in Canada by: 
                Intersound, Inc. 
                1 Select Ave. 
                Scarborough, Ontario M1V 5J3 

            [This CD contains half original authentic 1940 radio/TV
             Mexican recordings; and half modern studio re-recordings 
             of the original scores written for Republic B-picture 
             serials used on early radio before 1940 for comparison; 
             The CD was produced by James King - an associate of
             Composer William Lava, with audio restoration by 
             Graham Newton.]

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