The Prince and the Pauper/Korngold

One of the many pleasures of a new offering from Tribute Film Classics is the opportunity to revisit one of the older films that Bonn, Morgan, and Stromberg have decided to re-record. Previously we have seen Charge of the Light Brigade, Fahrenheit 451, Kentuckian, Mysterious Island, and She all excellent older films. As a reviewer I try to not only listen to the CD several times but to watch the film so that I may see what I’m listening to. I’ve even gone so far as to cue up the particular sequence in the film with the new material and play them together. It seldom matches but it still gives me a better idea than just watching the film or listening to the CD. Nerdy, but effective for what I’m striving to achieve. The latest offering, the Mark Twain classic, The Prince and the Pauper, starring Errol Flynn, Claude Rains, and Billy Mauch is also a special Korngold score orchestrated in part by another of my favorite golden age composers Hugo Friedhofer.

While this film score is available from Previn, OST, and a previous version from Stromberg/Morgan, this is by far the one to have as it contains 43 tracks and over 65+ minutes of music. Previn had 9 tracks and 22 minutes, the OST on Rhino about 8 minutes, and the older Stromberg version with the Brandenburg Symphony 33 minutes. Not listed are several different recordings that appear in compilation recordings but pretty much consist of just the main theme. Putting it in historical order was after Anthony Adverse but before The Adventures of Robin Hood.

Written in a style that would be suitable for a chamber orchestra, the infectious main title theme starts us off. This is a theme that I could very easily see as being the melody to a studio intro such as MGM, Fox, or Warner Brothers. As explained in the liner notes from John Morgan, Korngold was permitted to use the themes for his concert pieces and he later used the melody from The Prince and the Pauper as the main theme in the third movement of his Violin Concerto. Coincidentally, Naxos has released a new recording of the concerto 8.570791 nicely performed by Philippe Quint. This affords you the opportunity to hear the theme fully developed (7+) minutes and nicely performed. “A Prince is Born,” along with “Tavern and Palace” has that jovial full sound that we are accustomed to listening to in Robin Hood from Korngold. The bonus of this CD are tracks such as “Prince Outside Palace” which is a prodding style of theme performed on the contrabassoon something I found really exciting and certainly different sounding. In fact you’re going to hear the theme quite a lot. Break neck speed on the piano in the “Seal #1” and “Seal #2.” “Riot” was also the theme at break neck speed while “Dining Scene” is yet another variation this one with a sax and the bassoon given the role of a comic. “Street Scene,” also a famous Newman cue, is a dark mysterious one. “British End Title,” a proud rendition of the main title includes “God Save the Queen.” This is just nice bonus material like the trailer music that you get when the score is fairly complete.

If you have little of this material in your collection this is certainly the recording to add to your collection. Highly recommended.

CD# is TFC 1006

Produced by Bonn, Morgan, and Stromberg

Performed by the Moscow Symphony Orchestra

Golden Score Rating is ****1/2

Track listing



1. Main Title (01:43)

2. A Prince Is Born (00:33)

3. Tavern And Palace (03:15)

4. Tom/Tom Continuation (06:36)

5. The Bench (00:44)

6. The Prince (03:24)

7. Biscuit And Seal (01:53)

8. The Prince Goes Back (01:42)

9. The Captain (00:47)

10. The Boys Go to Play (00:49)

11. Mirror (01:55)

12. Prince Outside Palace (01:48)

13. The Next Morning (01:14)

14. Pauper Goes To King (02:11)

15. That Is My Son (00:34)

16. The King Is Dead (01:26)

17. The Dog (00:55)

18. The Church (01:13)

19. Riot (01:23)

20. Dining Scene (03:44)

21. The Crown (00:58)

22. His Majesty (00:57)

23. Exit (00:31)

24. The Murder (01:05)

25. Street Scene (01:27)

26. Nuts Knocker (00:25)

27. Pauper’s Coronation (00:42)

28. Flirt (02:10)

29. Robbery (00:33)

30. Knife Fight (02:13)

31. The Maid And The Ride (01:43)

32. The Prayer (00:52)

33. Duel (02:26)

34. Fanfares (00:09)

35. Organ (00:27)

36. God Save The King (00:06)

37. Seal #1 (01:04)

38. Seal #2 (00:58)

39. Hurrah! (00:56)

40. Epilogue (02:09)

41. End Title (01:11)

BONUS TRACKS:

42. Trailer (02:43)

43. British End Title (01:16)



Total Duration: 01:04:50

Piano Concerto and Symphony No. 4/Giannini

Here is yet another unknown composer I recently discovered through Naxos and their American Classic series of recordings. Vittorio Giannini (1903-1966) was born into a musical family with his mother, a singer, being the primary encouragement to pursue a musical career. He attended the Milan Conservatory, graduated from Julliard, and while he never wrote for the silver screen he very easily could have, having taught film composers David Amram (The Manchurian Candidate), John Corigliano (The Red Violin), and Thomas Pasatieri (Orchestration for Thomas Newman) at the Manhattan School of Music.

Classified as a “neo-romantic,” I think you’ll find that his Piano Concerto, composed in 1935 should be placed in the romantic category. To my knowledge this is the first recording of the work since it was premiered in New York City in 1937. The addicting theme is used throughout the first movement and one could easily be reminded of Rachmaninoff for the grandiose style, which it is arranged. Bold flashy scales and additional thematic material are the order of the day. At 21+ minutes it is given the opportunity to be fully developed. The second movement is an Adagio, a variation on the first movement theme but a highly seductive romantic variation that could easily take its place on any compilation of Adagio movements. Delicate is the key word for this movement. The third movement returns to a theme from the first movement, introduces a new one, has some very nice scherzo passages, and a fugue which seems out of place at first but upon further listening is right at home in the movement. While it was written at a very early age (22) this is not a student work and shows real maturity in many parts. While I have nothing to compare the performance of Gabriela Imreh with, I got the feeling that she felt right at home with the concerto and understood the piece quite well.

Written approximately 25 years later Giannini’s 4th Symphony (of 7) expresses thematic, modern, and romantic material as well as a sampling of dissonance. One could easily conjure up visions of silver screen situations. Like the piano concerto this is the first recording of the material since the Juillard Orchestra premiered it nearly 50 years ago. The key to this work is the superb orchestration that Giannini was able to achieve and the fine well rehearsed performance of the Bournemouth Symphony Orchestra conducted by Daniel Spalding. Recommended.

Produced and engineered by Tim Handley

Naxos CD# 8.559352

Daniel Spalding conducts the Bournemouth Symphony Orchestra

Gabriela Imreh, Piano (Tracks 1-3)

Track Listing:

Piano Concerto

1… Sostenuto-Allegro moderato (21:24)

2… Adagio (8:35)

3… Burlesca: Allegro vigoroso (11:13)

Symphony No. 4

4… Allegro con passione (8:40)

5… Sustention e calmo (7:33)

6… Allegro (7:09)

Total Time is 64:34

Great Movie Themes 2/Compilation of Film Composers

Naxos has just introduced “Great Movie Themes 2” as the second installment from Carl Davis conducting the Royal Liverpool Philharmonic Orchestra. He makes available movie themes in easy listening arrangements, appealing to a wider listening audience at an affordable price. In terms of audience appeal film music compilations, in some respects, are a no win situation for the record producer. Silva, who I’ve given the title of “King of the Compilations,” is always recycling material under different titles. The latest compilation offered Batman material, some of which had been released under a previous Tim Burton movie compilation. They try to save money. How many will say “Been there, done that already.” Some will question including choices such as “Deerhunter,” “The French Lieutenant’s Woman,” or two selections from “Superman” and omitting x, y, and z. Why are there 6 selections of John Williams’s material in the first two volumes and nothing from Thomas Newman? I’m glad that I don’t have the tough decisions to make as to what to include. One thing for sure is that the choices and styles of music are varied.

The “Pink Panther” is one of the more recognizable themes and Brian Gascoigne arranged it a little more on easy swing side as opposed to the raucous version Mancini arranged for concert orchestra. I’ve heard the Boston Pops perform this classic many times and it is quite the vibrant piece. The suite from “Mission Impossible” is nice as the 5 minutes consist of the two main themes from the highly successful television series intermixed as they are performed. Again, the arrangement by Mike Townend is more on the conservative side. The three choices of John William’s material from “Jurassic Park” and “Superman” are some of the more memorable themes John has written. I’m partial to the “Can You Read My Mind?” selection as I used to play this for my daughter daily for at least a year. If you enjoy schmaltz, the arrangements of “Love Story”, “Romeo and Juliet”, “English Patient”, and “Godfather” will be to your liking. They are arranged and performed to bring a tear to the dry eye. “Pirates of the Caribbean” is really lacking in the vibrancy necessary to truly capture this Klaus Badelt composition which is a loud rocking chanty.

The highlight for this reviewer was in the wonderful Christopher Palmer arrangement of the Stanley Myers Intro and Cavatina from “The Deerhunter.” The lonely distant trumpet, minor chords from the lower register strings, and then the beginning of that beautiful theme from the flutes and horns result in one of the prettiest themes ever written for the silver screen. The other interesting track of merit is the fine composition from Carl Davis for “The French Lieutenant’s Woman.” It’s not a great melody but the overall track is conveying the yearning love in a recital style. Well done!

For the casual listener to film music this CD would be a perfect addition to your collection. Nice conservative arrangements of classic melodies for the silver screen. The hard core collector would have to decide if “The Deerhunter” and French Lieutenant’s Woman” would warrant an $8.00 investment. Those two cues are awfully good but the rest is as I stated earlier “Been there, done that.”

Naxos CD# is 8.572111

Producer and Editor: Andrew Walton

Track Listing:

1.… Batman Theme (Elfman) 2:18

2.… The Pink Panther (Mancini) 3:54

3.… Mission Impossible Suite (Schifrin) 4:55

4.… Theme from Love Story (Lai) 4:35

5.… Theme from Jurassic Park (Williams) 5:40

6.… Romeo and Juliet (Rota) 3:40

7.… March From Superman (Williams) 4:18

8.… The English Patient (Yared) 5:41

9.… The Godfather (Rota) 4:00

10.. Love Theme from Superman (Williams) 5:06

11.. Pirates of the Caribbean (Badelt) 5:32

12.. Introduction and Cavatina from The Deerhunter 6:56

13.. The French Lieutenant’s Woman (Davis) 4:28

14.. Shakespeare in Love (Warbeck) 6:44

Total Time is 68:44

Sirens/Gliere

Writing in the early to mid 20th Century, Reinhold learned his craft well from Arensky and Ippolitov-Ivanov, creating wonderful harmony and orchestrating. His work was praised in 1948 as continuing the Russian romantic tradition from the government, while Shostakovich, Myaskovsky, and Prokofiev were condemned for their work, thus an overwhelming acceptance from Stalin, something difficult to obtain.

Written in 1908, the same year as his second symphony a busy composing time for Gliere, the symphonic poem uses the “Sirens” from Greek mythology as the basis for his composition. Sailors would hear the magic music from the “Sirens” and their ship would be lured to the island where it would crash and sink on the hidden rocks. Both Odysseus and Orpheus used various methods to prevent themselves and their sailors from hearing the magic songs. The single 13+ minute work is divided into 5 sections as noted by the composer put performed without pause.

1…The Sea

2…The Isle of the Sirens

3…Approach of the Vessel

4…The Song of the Sirens

5…The Shipwreck

The work begins with an ominous statement in a minor key with rumbling from the kettledrum and basses in the background, yet another interesting interpretation of the expansive ever-moving ocean from a composer. It leads into a happier flighty section; a land of enchantment and peace or so thinks the sailors and the listener. The calling of the brass, with the magical melody from the “Sirens” supported by harp, flute, and celesta lead the music into a jagged yearning climax of doom, a motif very similar in nature to a passage from Gliere’s epic Third Symphony ’Ilya Murometz.’ It comes to a conclusion in a ppp with only the lower register of the orchestra.

This certainly must take its place with the likes of “Isle of the Dead,” “The Sea,” “The Island,” and other works about the body of water that encompasses over ½ the earth. To my knowledge it is the only available recording on the market although there has been a Melodiya recording (M10 39547) long out of print. The people at Naxos, in my opinion, have been able to find and make available a lot of obscure material that is quality composing, worthy of recording. While I have no other recording to compare it to I found it to be well performed and recorded. It is coupled with his 1st Symphony, a very early work that will be reviewed separately. We can assuredly put this in the category of classical recordings you don’t have but should. Recommended.

Total Time is 13:34

Performed by the Slovak Philharmonic Orchestra conducted by Stephen Gunzenhauser.

Naxos CD# 8.550898

Piano Concerto in F minor/Arensky

Not considered much of a household name in classical music, Anton Arensky wrote during the late19th and early 20th century, studied under Rimsky-Korsakov at St. Petersburg, taught composition at the Moscow conservatory teaching Rachmaninoff, Gliere, and Scriabin among others. He was also a director of the St. Petersburg Imperial Choir from 1895-1901 before he spent his last years performing on the piano and conducting. While Rimsky-Korsakov certainly had to have some influence on his composing it was Tchaikovsky who had the greatest impression. His life style, which included drinking and gambling, contributed to his poor health and he died an early death from tuberculosis at the age of 44. While his contributions were relatively small leave it to Naxos to release (4) seldom performed works.

The liner notes, written by David Truslove, bring out an interesting point that is, very few composers can offer a piano concerto of such quality so early on (opus #2) as Anton did. Written in his final year at St. Petersburg (1882), this is far more than a student work, one that shows some real quality. It has that flare of a Chopin piece in a definite Russian folk-lore/melody style. The first movement, an allegro maestoso, brings this out nicely with a combination of Lizst, Chopin, and his own style. I especially enjoyed the Scherzo (3rd movement), which combined the elements of a nice lively melody, good balance between orchestra and soloist and some technically challenging playing. Gone was the heaviness of the Russian music, which is often evident in Russian pieces written around this time. The andante is elegant and delicate with a nice balance between piano and orchestra. Fantasia on Russia Folksongs, Op. 48 does have that solemn, yearning Russian music with only an occasional respite of Lizst/Chopin showmanship. The two themes presented were taken from a collection of folk songs of Ivan Trovimovich Anton heard in a recital. To the Memory of Suvorov is a very stoic Russian march that one would expect to hear at the honoring of a general, which was the reason for the music. Nothing out of the ordinary unless you’re into marches and then the melody might be of interest to you. Symphonic Scherzo may have been composed prior to his Piano Concerto but little is known about it. It could have been a student piece, part of an abandoned symphony, or just a stand-alone piece. Could this be his opus no. 1? It is a composition this reviewer had never heard before but having had several listens to it (put it in the MP3 Player) I found the work to be quite satisfying. Even though it showed a lack of developmental skills having been written when he was 20, it has a catchy Russian influenced theme, one that has the teachings of Rimsky-Korsakov all over it. This is one that I plan to go back and listen to on a regular basis.

While I can’t compare the performances of Scherbakov and Yablonsky conducting the Russian Philharmonic with other recordings this reviewer can find no fault in it or the audio recording. This is a CD that falls into my category of classical recordings you don’t have but should.

Naxos CD# is 8.570526

Track Listing:

Piano Concerto in F minor, Op. 2

1… Allegro maestoso (11:53)

2… Andante con moto (7:08)

3… Scherzo-Finale: Allegro molto (7:13)

4… Fantasia on Russia Folksongs, Op. 48 (8:34)

5… To the Memory of Suvorov (4:33)

6… Symphonic Scherzo (9:45)

Konstantin Scherbakov, Piano on Tracks 1-4

Russian Philharmonic Orchestra conducted by Dmitry Yablonsky

Master of the World, Goliath and the Barbarians/Les Baxter

Les Baxter is certainly not a common known name to the younger soundtrack collector. Les in the music world was primarily known for his “exotica” music, billboard hits of his arrangements of Poor People of Paris and Quiet Village in the 50’s, his arranging and musical directing for Capitol records, and his work as a composer for AIP which included Roger Corman horror pictures, bikini beach blanket films, and any drive-in movie theme sure to attract the teenage crowd. While his name appears in the credits for over a 100 films few have reached CD releases or MP3 downloads. Intrada (ISE1029) has made available in a 2 CD limited edition release Master of the World (1961), and Goliath And The Barbarians (1959) both previously released on LP. In addition, OST recorded material from Master of the World was located and included for this release including two vocal numbers of the main title not included in the Vee Jay LP (SR 4000) of 1961 or the film. Called Come Dance With Me (nothing to do with the Sinatra classic except the name) it was a catchy lyric sung in both choral and male vocal arrangements. I can remember purchasing the LP in a mono format from a bargain cut-out bin for the ridiculous price of 3 for a $1.00 Apparently the soundtrack had about the same amount of appeal as the film.

Master of the World used Richard Matheson as a writer and he combined two of Jules Verne novels Robur the Conqueror and Master of the World to tell his story of Robur and his goal to end war in the world at any cost with his somewhat unusual craft which could fly, travel over or under the water and even perform as an automobile. Vincent Price, Charles Bronson, and Henry Hull starred in the William Witney directed film, which offered stereo sonic (?) sound and magna color (?). I noticed nothing special in the color and I certainly didn’t get the idea that this was a 100-piece orchestra, which it inferred. The name of the group could have been the “100 Men” and in reality been a 40-piece group, which is what it sounded like. No matter; it is really nice material from Les Baxter. “Overture” gives us both the main theme and the beautiful waltz, both of which are used throughout the 31+ minute score. If you like schmaltzy music sometimes, and this reviewer does, “Balloon Waltz” is a perfect example with piano and strings in just the right combination. “Master of the World” is another example of pure elevator music again using the piano and strings with the main theme from the film. “Topage” is a whimsical piece offering a little bit of a travelogue with lots of brass and percussion. “Mediterranean” is the romantic interlude music you would experience at an Italian café with a loved one. “Drifting Clouds” is another nice version of the waltz theme with full orchestral treatment giving a dose of brass and nice work from the harp in harmony. If you own this CD there is a slight drop in the left channel that lasts for a second or so, something on the master as both my LP and CD are identical. You’ll also find that the sound of the new material from the film has cleaner crisper sound with fuller dynamic range. The transfer from the LP is a bit flat at times, lacking punch.

Goliath and the Barbarians (1959) was the first in a series of Goliath vs. something from Italy. Fresh from his huge success with Hercules, Steve Reeves starred and the film was marketed in the U.S. by AIP. The original score by Carlo Innocenzi (available on Digitmovies CDDM 113) was replaced by a Les Baxter one, which was originally released by American International on LP. The design of the cover made it look like one of his Capitol ‘exotica’ releases and perhaps helped in the sale of it. The Intrada recording is a remastering and contains the same material as the LP releases. “Goliath’s March,” the main theme, is a typical one a marching band could play; a nice melodic song. “Landa,” the love theme, also repeated with more of a modern flare in “Love’s Farewell,” is a mysterious Middle Eastern one straight out of a Rimsky-Korsakov opera. There is a small blip in a transitional moment at 1:15 on the track. If you’re familiar with the music of Baxter you’ll hear the opening motif of The Pharaoh’s Curse starting the “Barbarian Games,” gladiator type music in the tradition of Rozsa. “Rape of the Village,” and “Fire Dance” is also tracks that you’d expect to hear from a period film such as this one with the difference being the playing of the London Sinfonia.

This release sold out in a relatively short period of time. As a result the speculating on E-Bay is demanding a high price, at least at the time of this writing, and frankly this material isn’t worth the amount of money they’re asking. It is nice material but nothing special. Wait and look for it in the $25.00 price range or as a possible second pressing in the future.

Track listing

Disc/Cassette 1

 

1. Main Title And Dreams Of Flight (02:24)

 

2. Topage (01:53)

 

3. Betrayed And Discipline (04:20)

 

4. Flight Concerto (02:18)

 

5. The Mountains (05:07)

 

6. End Title (01:44)

 

7. Come Dance With Me [Exit Music] (02:17)

1-7 suite from the original soundtrack (film versions)

8. Overture (02:21)

 

9. Topage (01:52)

 

10. The Albatross (02:22)

 

11. Mediterranean (02:50)

 

12. Over The Rocks (04:39)

 

13. Master Of The World (01:45)

 

14. Flight Concert (02:16)

 

15. Philadelphia (01:59)

 

16. Drifting Clouds (03:11)

 

17. The Conquerors (04:26)

 

18. Balloon Waltz (02:18)

 

19. Finale (01:47)

8-19 original 1961 re-recorded album

CD1: MASTER OF THE WORLD (1961) total time 53′16

Disc/Cassette 2

 

1. (Main Title) Goliath’s March (00:55)

 

2. (Love Theme) Landa (01:51)

 

3. (Noisy Village) Barbarian Games (03:02)

 

4. The Sacred Crown (04:22)

 

5. Sword Dance (03:24)

 

6. Mountains Of Mystery (05:00)

 

7. Ride Of The Barbarians (01:44)

 

8. Night Attack Of The Stranger (02:58)

 

9. Love’s Farewell (02:37)

 

10. Rape Of The Village (02:27)

 

11. Fire Dance (02:50)

 

12. (End Title) March Of Victory (02:52)

CD2: GOLIATH AND THE BARBARIANS (1959) total time 34′53

Total Duration: 01:25:51

 

CD# Intrada ISE 1029

Master of the World performed by the 100 Men conducted by Cal Carter

Goliath and the Barbarians performed by the London Sinfonia conducted by Muir Mathieson

Produced by Douglass Fake

“Come Dance With Me” performed by an unknown singer.

Wuthering Heights/Michel Legrand

American International Pictures, known for horror, Roger Corman, all night drive-in ’B’ movies, hot rods, rock and roll, and bikini clad girls tried to offer audiences a film of real substance in 1970. I think that Nicholson and Arkoff, founders and producers, hoped to polish the image of the studio AIP by showing it could make an ‘A’ picture. The classic Emily Bronte novel Wuthering Heights was directed by Robert Fuest, starred Anna Calder-Marshall and Timothy Dalton, filmed at Shepperton Studios in England and actually had a modest budget to work with considering it hired Michel Legrand for the score, and the Bergman’s for lyrics to the “I Was Born In Love With You,” the song they hoped would rise to the top of the charts. This was a time in Hollywood when a film hoped to have a #1 song to produce advertising and revenue. While the song performed by the Mike Curb Congregation, for record only, never reached the popularity AIP hoped for it was certainly an asset to the film itself. While I still consider the Oscar nominated Alfred Newman score to the 1939 William Wyler version starring Laurence Olivier and Merle Oberon a classic, this version is certainly worth a look and the “Theme from Wuthering Heights” is certainly as noteworthy as Newman’s. You can’t really compare them but you can certainly enjoy both! Both films are heads above the 1953/54 Luis Bunuel film, shot in Mexico, and featuring the music of Richard Wagner. I can’t comment because I haven’t seen the film but opera from Tristan and Isolde seems like ketchup on vanilla ice cream to me. There are several more versions and as I type there is a 2009 film being done for television. The list of remakes goes on like Dracula and Sherlock Holmes.

http://sdtom.wordpress.com/2006/09/22/wuthering-heightsalfred-newman/Michel Legrand featured his Cathy or “Theme from Wuthering Heights” as the primary one, using it with delicacy for the flutes in the opening title, yearning strings, stately French horns, mixing it with other motifs such as “Rendezvous on the Moors,” “Castle Grounds,” and other instruments throughout the 46+ minute score. “Yorkshire Moors” uses the modern guitar to sound baroque like, an interesting orchestration that is mixed with the “Wuthering Heights” theme, flutes, harpsichord, a dissonant horn, and oboe. “Cathy’s Theme” is a lush romantic version of the “Theme from Wuthering Heights” offering many solos from the London Studio Orchestra members including harp, flute, violin, and oboe. “The Grange,” quite modern sounding like a traffic sequence is mixed with the gloomy harpsichord chords to make for an interesting mixture in this cue. “Hindley” is one of those tracks that is made up of several different smaller cues ranging from trumpet fanfares, lower register brass, “Theme from Wuthering Heights,” and church type music. The mixture works well as a nice underscore track.

While limited to 1200 units this release is still available and well worth exploring. It would make a nice edition to go along with the classic Newman score in your collection.

Maintitles Rating is ***½

CD# is LLLCD 1087

Music is composed and conducted by Michel Legrand and performed by the London Studio Orchestra

Produced by Gerhard and Verboys

Track listing:

1. I Was Born In Love With You (Theme from Wuthering Heights – Instrumental) (02:07)

 

2. Yorkshire Moors (02:38)

 

3. Le Grand Holiday (02:45)

 

4. Castle Grounds (01:18)

 

5. Hindley (03:38)

 

6. The Grange (01:32)

 

7. Rendezvous In The Moors (02:54)

 

8. Cathy’s Theme (04:42)

 

9. Wuthering Heights (02:23)

(Previously unreleased track)

10. Mystical Moors (02:33)

 

11. Reprises for Heathcliff (05:27)

 

12. Ghost of Cathy (01:30)

 

13. Wuthering Heights Dirge (04:08)

 

14. Isabella (04:08)

 

15. Mourning for Cathy (01:37)

 

16. Heathcliff and Cathy (01:41)

 

17. I Was Born In Love With You (Theme from Wuthering Heights) (03:07)

Vocal by The Mike Curb Congregation

Total Time is 46:46

 

 

The Music Of Batman/Compilation of Film Composers

Silva to many of us is known as the label offering compilation albums on a potpourri of subjects ranging from composers, topics, actors, and types of films just to name some of the scenarios they’ve tackled over the years. The Music Of Batman spans over 40 years of television, animation, and movies the fanatical fan base has demanded. From the chart breaking TV theme with a single word batman for the lyrics repeated over and over, to the latest blockbuster Dark Knight, 9 different productions are included with music by Elfman, Goldenthal, Walker, Howard, Zimmer, Drake, Riddle, and Hefti, an impressive lineup of composers who’ve contributed to the never ending stories of the comic book hero.Danny Elfman who created in my opinion the best of the Batman themes is featured on the first 6 tracks to the 1989 Tim Burton film starring Michael Keaton and Jack Nicholson. This is the theme that goes through my head when I think of Batman and keep in mind I watched the television series when they weren’t reruns! On the very first play I got the goose bumps as they played the classic dark Herrmann influenced main title filled with eeriness, mystery, and excitement. The second thing that I really liked about the Elfman score were the references he made to other works such as ‘Mars’ from Planets by Gustav Holst. Listen to the beginning of “The Final Confrontation” and you’ll hear just a few notes from it. To me this is a nice touch! Listen to the “Finale” track and you’ll hear a little from the crescendo from Also Sprach Zarathustra from Richard Strauss. “Up the Cathedral” reveals a bar or two from the Waxman score to Bride of Frankenstein, along with the echoing horns from Aliens used by James Horner effectively. These and others are perfectly blended into the score with his own original material. Also included on the CD is the Wagner parody “Batterdamerung” from Goldenthal in Batman Forever, “Eptesicus,” a melding of Zimmer and Howard from Batman Begins, an excellent well played track from Fitzpatrick and the City of Prague Philharmonic, an orchestra that has certainly made some great strides in the last few years. In fact give an ‘A’ to the Prague ensemble for the tracks that they performed on. This is not the case as far as the London Music Works ensemble that performed the retro Batman material by Riddle and Hefti. There is a way to play the big band style of both Riddle and Hefti and what I heard wasn’t even close. As a reviewer I had to cringe and it was difficult to get through the last two tracks. Perhaps with practice they will learn to get the feel of the material. Having said that do not let that deter you from your purchase of this album.

As with all compilation material one could easily complain about how it is performed, arranged etc. This is not for the Batman fanatic. This is not for the individual who collects OST material. This is for the person who would enjoy listening to 45 minutes of Batman material, which has already been compiled and arranged in a very nice fashion excepting the retro material. I can honestly say that I look forward to hearing material from the City of Prague Philharmonic Orchestra as they have improved over time that much. Recommended.

Maintitles rating is ***½

CD# is SILCD1276

Produced by Rick Clark and James Fitzpatrick

Orchestrations by Steve Bartek, Dominic Nunns, Adam Saunders, Evan Jolly, and Matt Hohensee

Nic Raine and James Fitzpatrick conducted the Prague with Evan Jolly conducting the London Music Works.

Track listing:

1. Batman (02:56)*

2. Batman – Flowers & Love Theme (02:33)*

3. Batman – The Joker’s Poem & Clown Attack (01:30)*

4. Batman – Up the Cathedral (02:42)*

5. Batman – Waltz to the Death (00:59)*

6. Batman – The Final Confrontation & Finale (02:00)*

7. Batman Returns – End Titles (04:49)*

8. Batman Forever – Batterdamerung / Mouth to Mouth Nocturne (03:08)

9. Batman and Robin – Main Titles & Fanfare (01:50)

10. Batman Begins – Eptesicus (04:51)

11. The Dark Knight – Aggressive Expansion (04:35)

12. Batman: Mask of the Phantasm – The Birth of Batman / Main Title / The Promise (03:59)

13. Batman: Gotham Knight – End Credits (03:20)

14. Batman: The Movie – Main Title Theme (02:37)

15. Batman – TV Theme (02:20)

* Previously released on SILCD 1261

Total Duration: 00:44:09

Piano Concerto #7, Op. 132/Ferdinand Ries

The 2009 Penguin Guide had a total of 0 recordings in their perfect guide to building your classical collection. It only took me about 10 minutes into this new Naxos recording to come to the decision that they were wrong in their assessment, at least in the case of this recording and at the very least for offering nothing from this talented recorder.Ferdinand Ries was a student, secretary, and copyist for Beethoven during the years of 1803-1805. He made his debut as a pianist in 1804 performing Beethoven’s Piano Concerto #3 in C Minor, Op. 37 with his own cadenza, to good reviews. He left Vienna in 1805 to avoid the draft but stayed in touch with Ludwig over the years, aiding him with getting some of his publications in London performed and published, including the 9th Symphony in 1822.

My first listen gave me the impression that the 7th Concerto, composed in 1823, wasn’t written in the first part of the 19th Century but somewhat later on, perhaps as much as 25 years later. While not as technical or romantic as I’ve heard, the 1st movement, an allegro con moto is lyrical and stylish enough for me to have stopped what I was doing and just listen. The opening/ prelude statement, showing the Beethoven influence, is 3+ minutes and introduces quite nicely the piano, which offers another theme showing off the skill of the soloist, Hinterhuber in this case. The larghetto is a pretty one, reminding one of romantic times in a delicate fashion. If one were beginning to nod off with the somewhat tranquil nature of the second movement the allegro will certainly open those sleepy eyes in the third and final movement. Quite vivacious it certainly shows the skill of the soloist. While Grand Variations on ‘Rule Britannia’, Op. 116 is not my cup of tea it is a pleasant listening experience for the person who finds this majestic theme one they find enjoyable. Perhaps not being British might have something to do with my opinion. The concluding work, Introduction ET Variations Brillantes, Op. 170, is based on the song “Soldier, soldier will you marry me?” and offers a nice balance between orchestra and the piano solo sections. It is a nice theme that is nicely developed and allows the technical ability of the soloist to come to the forefront.

This is an excellent way to be introduced to the work of Ries and if one is interested there are 4 more offerings of his piano works performed by Susan Kagan and Christopher Hinterhuber on the Naxos label.

Track Listing and Times:

Piano Concerto in A minor, Op. 132 (34:59)
1… Grave-Allegro con moto
2… Larghetto
3… Allegro
4…Grand Variations on ‘Rule Britannia’, Op. 116 (15:58)
5…Introduction ET Variations Brillantes, Op. 170 (14:35)
Total Time is 66:02

The Soloist/Dario Marianelli

Originally scheduled for release in November 2008, The Soloist was subjected to delays and the Oscar buzz given to Robert Downey Jr. for his performance of journalist Steve Lopez was put on hold, as well as the Decca soundtrack. Now scheduled for release in the US on April 24th, the Joe ‘Atonement’ Wright directed film also stars Jamie Foxx as Nathaniel a classical child prodigy cellist who is living homeless on the streets of Los Angeles as a result of his mental issues. The ensuing story leads to a wonderful friendship as well as a best selling book, which examines our society and how we handle mental illness.Academy award winner Dario ‘Atonement’ Marianelli approached this soundtrack from a purely classical point of view, primarily featuring the work of Beethoven’s E Flat Major ‘Eroica’ Symphony. This release is not a series of compilation material that one could put together. Dario orchestrates the themes in a way you’ve never quite heard Ludwig before. While there really isn’t an original main theme, his use of the cello and how he blends the orchestra into the tracks is a work of art. The cello playing can be tranquil, vivacious, tragic, slashing, and dissonant; all reflecting the different moods of Nathaniel. “Crazy About Beethoven” is a solo, tightly miked, with the cello performing the opening theme of the ‘Eroica’ the theme with the full orchestra only coming in at the end of the track. “There is No Escape” is the ‘Eroica’ theme but this time the Cello is backed by The USC orchestra in a way you’ve never heard them before! The talented Ben Hong, in ways I’ve never heard before, performs the cello solos. I would urge anyone who doesn’t own his third symphony to obtain a copy. There are far too many recorded versions to recommend one, but if backed up against the wall this reviewer would say that he owns the 1939 Toscanini/NBC Symphony Orchestra recording. Mono and a bit scratchy but superb playing overcomes any shortcomings in the recording. In addition, there are also parts of Beethoven’s 9th Symphony, String Quartet #12 and #15, Sonata #4 for Piano and Cello, Triple Concerto, and Bach’s Partita for Cello. Like his use of the typewriter in Atonement, “A City Symphony” incorporates the sound of the cello into the traffic noise of a LA freeway. The sound of the cello is made to sound like a horn from a car! This opening eventually becomes the theme from the third movement of Beethoven’s String Quartet #15 beginning with the solo cello and then the rest of the quartet. “Accordion Interlude,” an original piece from Marianelli is an accordion solos but made to sound like an organ of Bach style material, a very clever use of orchestrating! “Cello Lesson” is the Bach Cello Partita piece, and the concluding track is the third movement of Beethoven’s Ninth Symphony.

If you’re not a fan of classical material it is probably one that you’ll want to avoid unless you really take a liking to the film. If you’re open to some classic material it is certainly worth a listen. If you’re a fan of the classical genre you should pre-order it. I can’t recommend it enough!

Track listing:

1. Pershing Square (0:46)

2. Crazy About Beethoven (1:58)

3. Paper Mache World (1:30)

4. A City Symphony (3:37)

5. This Is My Apartment (1:50)

6. There Is No Escape (1:33)

7. Falling Apart (1:07)

8. Four Billion Years (2:50)

9. Nathaniel Breaks Down (5:28)

10. Accordion Interlude (2:03)

11. The Lord’s Prayer (3:10)

12. The Voices Within (2:05)

13. Sister (5:31)

14. Cello Lesson (2:24)

15. Mr. Ayers and Mr. Lopez (11:08)

Total Time is 47:36

Featuring Esa-Pekka Salonen and The Los Angeles Philharmonic