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Victory at Sea, Vol. 2 (1959) State Fair (1945 & 1962) [Original Soundtrack] (1962) No Strings [Original Broadway Cast] (1962) South Pacific [1998 London Cast] (1990) Mary Martin Sings, Richard Rodgers Plays (1990) Victory at Sea (Music from the Original Television Seri… (1992) The King and I [1996 Broadway Revival Cast] (1996)
Jun 8, 2017 · Victory at Sea Volume I. Victory at Sea Volume I. Music by Richard Rogers. Arranged and conducted by Robert Russell Bennett with the RCA Victor Symphony Orchestra. This is an orchestral suite from the score for the early 50's NBC television production of the same name. Actually, Bennett contributed original music to the project beyond the 13 ...
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Victory at Sea is a documentary television series about warfare in general during World War II, and naval warfare in particular, as well as the use of industry in warfare. [1] It was broadcast by NBC in the United States during 1952–1953. It was condensed into a film released in 1954. Excerpts from the music soundtrack, by Richard Rodgers and ...
- October 26, 1952 –, May 3, 1953
- NBC
The award winning epic music and documentary VICTORY AT SEA composed by Richard Rodgers.
"Victory at Sea" (1952) - Suite - Richard Rodgers212.7K Views- Victory at Sea - Beneath the Southern Cross188K Views
- Victory at Sea - Main Theme317.4K Views
- Victory At Sea - Melanesian Nightmare - Episode 13278K Views
- Victory At Sea - Midway Is East - Episode 4436.9K Views
- Victory At Sea - Sealing The Breach - Episode 3288.7K Views
- Victory At Sea - The Pacific Boils Over - Episode 2351.8K Views
- Victory At Sea - Design For War - Episode 1455.2K Views
- Victory At Sea Theme Song141.4K Views
Jun 14, 2017 · Victory at Sea Volume III. Symphonic suite composed by Richard Rodgers for the NBC early 50's television series "Victory at Sea". Arranged for orchestra by Robert Russell Bennett and with Mr. Bennett conducting the Victory at Sea Orchestra.
with which Richard Rodgers begins his score for Victory at Sea has in it all the vast restlessness and mystery of the sea itself, heralding a score which The New Yorker describes as “a seemingly endless creation, now martial, now tender, now tuneful, now dissonant . . . memorable, and tremendously moving.” From first conception, I envisaged ...
