(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".]
[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 Recordings: [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 Ruvalcaba. 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 department. 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.]