Golden Age of Hollywood 2/Compilation of Film Composers
February 29, 2012
Continuing in the series, part one was previously reviewed with link above, of Here Come The Classics the Royal Philharmonic Orchestra conducted by Jose Serebrier offers part two of The Golden Age of Hollywood with fifteen more selections of material from the 30’s thru the 70’s. Composers include Herrmann (5), Steiner (1), Korngold (1), Bernstein (1), Rozsa (1), Waxman (2), Tiomkin (1), and Rota (3). The films include Vertigo, North by Northwest, Caine Mutiny, Citizen Kane, The Adventures of Robin Hood, To Kill A Mockingbird, The Private Life of Sherlock Holmes, Sunset Boulevard, A Place In The Sun, Dial M for Murder, and The Godfather. The soundtrack collector is not the target market for this release as they likely own not only the original soundtrack material but reconstructed scores from several already. This is meant for the casual listener who enjoys thematic music material but is interested in highlights to the films not a complete CD.
While several of the selections have been recorded on numerous best of compilations producer Anna Barry also selected the main title from Caine Mutiny a rousing patriotic march written in the tradition of Sousa and sure to arouse the spirit in you! Steiner’s orchestration was certainly busy filled with harmony and counterpoint. The Private Life of Sherlock Holmes score is the Rozsa violin concerto originally written in 1953 for Heifetz. The second movement performed on this recording by Clio Gould is a romantic with a melody you’ll not forget quickly. It is a Hungarian gypsy flavored solo with tones of what Tchaikovsky might have done. For those interested there is a complete recording available on Naxos 8.570350 that stands up. quite well to the Heifetz recording which is alas a mono historical one now? Tiomkin’s Dial M for Murder, not one of his popular numbers, but a good entry in the compilation. The opening bars immediately identify his sound with brass dissonant chords before it quickly leads into a happy melodic waltz that conjures up all sorts of good times. The second section is one of tension and yearning before it concludes with the original melody. Another interesting selection is the “Sicilian Pastorale” which first offers a solo melody from the bassoon and concludes with flutes continuing the melody. Very classical in nature it reminded me of Respighi.
The orchestra, conductor, and engineer have a very nice feel for the music they chose. It is well played and recorded and would be a welcome introduction to the golden age of film.
Track Listing:
1… Vertigo “Prelude” (2:57)
2… Vertigo “Nightmare” (2:11)
3… Vertigo “Scene d’Amour” (5:44)
4… North by Northwest “Overture” (3:24)
5… The Caine Mutiny “March” (2:22)
6… Citizen Kane “Prelude & Finale” (4:59)
7… The Adventures of Robin Hood “ The Fight, Victory, & Epilogue” (4:55)
8… To Kill a Mockingbird “Suite”
9… The Private Life of Sherlock Holmes “Violin Concerto (Second Movement) (10:41)
10… Sunset Boulevard “Suite” (7:57)
11… A Place in the Sun “Suite” (8:31)
12… Dial M for Murder “Theme” (4:34)
13… The Godfather “Sicilian Pastorale” (1:32)
14… The Godfather “Michael and Kay” (2:35)
15… The Godfather “Love Theme” (3:12)
Total Time is 73:38
CD# is Royal Philharmonic Orchestra 022
Invasion U.S.A./Glasser
February 24, 2012
Would you invest $127,000 to make back a million? Business wise this is exactly what this film did making it a huge success. The 1952 thriller starred Dan O’Herlihy, Gerald Mohr, and Peggy Castle and dealt with the enemy (Russia but not said), attacking the US.
Albert Glasser definitely approached this score as one of being military, patriotic, and included in the mix is a love melody written for Vince and Carla. I’m sure he had a very small orchestra to work with and the challenge is to make it sound much larger than it actually is something he was very good at. Highlights of the score include Main Titles a military style patriotic march which offers a melody from the horns and some dissonance backed by snare drum. The track ends with Big City Bar, a very brief Gershwin style orchestration as a Manhattan lounge is the first scene for the film. Vince meets Carla is the love theme of the picture played by a solo violin with harp backing it up. The theme also appears in Be Prepared (Audio Clip Included), You’re My Woman Now, I Want You, Vince Gives Blood, and Love And War. The Enemy is Here a military alert cue introduces a new theme that is filled with dissonance from the brass. The President Speaks in the short span of a minute makes references to “Wild Blue Yonder,” “Glory Glory Hallelujah,” and “America the Beautiful” in a very patriotic track. Dam Attack begins with urgency from the strings as “Anchors Aweigh” is referenced. The brass offer a military attack while the snare drum gets a workout and the track just winds down to nothing. Washington/On The Defense offers hints of “Wild Blue Yonder,” and “America the Beautiful” in a somewhat distorted fashion.
You must keep in mind that this was a ‘B’ movie mono soundtrack that while cleaned up quite nicely will not approach the full sound of a stereo or digital recording. This is an archival soundtrack that is a fine representation of Glasser and coupled with Tormented a welcome addition to your collection.
Track Listing:
1… Main Titles/Big City Bar (1:41)
2… Vince Meets Carla (0:57)
3… Mr. Ohman/Hypnotic Brandy/Bad News (1:46)
4… The Enemy is Here! (2:18)
5… Washington/On The Defense (1:03)
6… The President Speaks (1:00)
7… It Can’t Be Happening/Love and War (1:36)
8… Vince Gives Blood (1:17)
9… Dam Attack (2:23)
10… Watery Death (1:31)
11… I Want You/Red Alert (2:15)
12… A-Bombs Over New York (1:20)
13… Fighting Back (1:21)
14… Carla and Vince Captured/You’re My Woman Now (2:24)
15… Be Prepared (0:48) 15 – AUDIO CLIP
Total Time is 28:42
Tormented/Glasser
February 21, 2012
Mystery Science Theater 3000 commented about Albert Glasser as “the man who holds you down and pummels you with music.” Albert got his start in the 30’s at Warner Bros. as a copyist and orchestrator under the guidance of Korngold and Steiner. Did you know that he has done 135 films, 300 television shows, and 450 radio programs? If remembered at all it would be for all of the work he did on the popular series The Cisco Kid. This new release for 2012 from Kritzerland (20021-2) is coupled with Invasion USA (1952) and only the 4th CD released of his material with three of them coming from Kritzerland.
Tormented (1960) was a Bert Gordon film featuring Richard Carlson in the starring role as a jazz pianist who killed his former girlfriend only to have her come back and seek revenge when he wants to marry. This low budget thriller/horror film is now in public domain so if you wish it can be watched for free on IMDB internet archive.
http://www.archive.org/details/tormented
Working a miracle with a relatively small orchestra Glasser created a somewhat dissonant jazz score with some of the tracks being supplemented by a string section. The Main Titles feature the Tormented theme with a strong bongo beat, and jagged dissonant brass being a prelude to a jazz theme shared by the reed and brass exchanging the main melody line. It sets the tone for the jazz pianist and the music he plays. The Opening Narration offers a brief love melody with strings as the horns carry the line. The sax plays the melody with the piano and bongo drum in a typical trio setting which changes to dissonant brass with no melody for The End of Vi. If you like a twisted distorted style this section is for you. The Lighthouse gives you Stan Kenton like chords followed by a flute solo. Overall the track is also dissonant with no defined melody. Perfume by Arpege is a repeat of the love theme without strings and a swagger to it. Footsteps by Vi is a somewhat melodic line which involves the entire orchestra with the percussion changing to cymbals and snare drum. Tormented by Vi begins with string and then a vocal of the love theme sung by Margie Rayburn. This was arranged as a 45 RPM single which I’m not sure if anything ever came of it. Margie Rayburn once had a song “I’m Available” that reached the charts. It is a typical sounding pop arrangement that somewhat suffers from a small sound from the orchestra. The Photo offers a nice jazz version of the love theme featuring some nice reed work and then a cool jazz trombone solo. Girl Talk, while certainly not Hefti sounding, is a romantic underscore of a variation of the love theme. End Titles offers a nice coda with the love theme and frantic sound from the bongo drums.
Don’t expect high quality sound as it was a lower budget ‘B’ movie and a mono source. I know that the best possible quality was delivered by Kritzerland but it is what it is and having the opportunity to have a Glasser soundtrack far outweighs the negative.
Track Listing:
16… Main Titles (1:36)
17… Opening Narration/The End of Vi (3:24)
18… The Lighthouse (1:52)
19… Perfume by Arpege (1:07)
20… Footsteps by Vi (1:58)
21… Tormented by Vi (1:48) Audio Clip Rayburn Vocal
22… Nightmare (2:23)
23… Vi’s Watch/Who’s in the Lighthouse (2:41)
24… Vi’s Hand (1:32)
25… Mrs. Ellis Talks to the Dead (2:36)
26… The Photo (3:02)
27… Girl Talk (1:38)
28… Vi’s Head (1:30)
29… Sandy Sees Murder (0:58)
30… Wedding Jitters (1:30)
31… Vi at the Wedding (1:34)
32… Sandy in Danger/Tom’s End/ End Titles (1:16)
Total Time is 29:42
Kritzerland CD# is 20021-2
EMI Best 100 Film Classics/Compilation of Film Composers
February 11, 2012
Will the film compilation albums ever stop? What makes this EMI 6 CD set worth having? Any compilation album from a manufacturer is usually a good deal for them as they have paid user fees and own the material. EMI of late has taken advantage of this ‘best of’ reissue campaign offering several different compilation themes. The advantage of this release is it offers an extremely attractive price and a learning experience for the soundtrack collector. Most of the material is for films that over the years have used classical music as part of their soundtrack. While the classical listener will easily recognize the majority of the material and consider this release seven hours of clips the film score enthusiast who is not all that familiar with the classics will find this very entertaining and a learning experience. When you hear these themes you’ll know what classical works they come from! Available from Amazon for under $20.00.
BEST FILM CLASSICS 100
0946 3 54928 2 8
CD 1 – THE GREAT BLOCKBUSTERS 66.40
1. 2001: A SPACE ODYSSEY
Also sprach Zarathustra (Richard Strauss) – Sunrise
David Bell (organ)
London Philharmonic Orchestra / Klaus Tennstedt (P) 1990 (1.44)
2. APOCALYPSE NOW
The Ride of the Valkyries (Die Walküre) (Wagner)
Oslo Philharmonic Orchestra / Mariss Jansons (P) 1992 (4.45)
3. AMADEUS
Requiem in D minor K626 (Mozart) – Lacrimosa
Northern Sinfonia Chorus ∙ London Symphony Chorus
Northern Sinfonia / Richard Hickox (P) 1991 EMI Records Ltd/Virgin Classics (3.09)
4. TITANIC
My Heart Will Go On (James Horner)
Orchestra / David Abel (P) 1998 (4.19)
5. YOU ONLY LIVE TWICE
You Only Live Twice Main Theme (John Barry)
City of Prague Philharmonic Orchestra / Nic Raine (P) 2001 Silva Screen Records Ltd+ (2.54)
6. STAR WARS
Star Wars Main Theme (John Williams)
Geoff Love and his Orchestra (P) 1978/1997* (3.15)
7. GLADIATOR
Gladiator Theme (Zimmer/Gerrard/Badelt) (extract)
Crouch End Festival Chorus directed by David Temple
City of Prague Philharmonic Orchestra / Nic Raine (P) 2002 Silva Screen Records Ltd+ (2.20)
8. GALLIPOLI
Au fond du temple saint (Temple Duet) (Les Pechêurs de perles)
Nicolai Gedda (tenor) ∙ Ernest Blanc (baritone)
Orchestre du Théâtre de l’Opéra-Comique / Pierre Dervaux (P) 1961/1989*
EMI France (5.22)
9. THE GODFATHER III
Intermezzo from Cavalleria rusticana (Mascagni)
Philharmonia Orchestra / Riccardo Muti (P) 1980/1987* (3.40)
10. THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING
The Fellowship (Howard Shore)
City of Prague Philharmonic Orchestra / Nic Raine (P) 2002 Silva Screen Records Ltd+ (5.51)
11. HARRY POTTER AND THE CHAMBER OF SECRETS
Fawkes the Phoenix (John Williams)
City of Prague Philharmonic Orchestra / Nic Raine (P) 2003 Silva Screen Records Ltd+ (3.36)
12. SAVING PRIVATE RYAN
Hymn to the Fallen (John Williams)
Crouch End Festival Chorus
City of Prague Philharmonic Orchestra / Paul Bateman (P) 1999 Silva Screen Records Ltd+ (6.02)
13. MISSION IMPOSSIBLE
Divertimento for String Trio in E flat ‘Puchberg’ K563 (Mozart)
III. Menuetto (Allegretto)
Augustin Dumay (violin) ∙ Gérard Caussé (viola) ∙ Gary Hoffman (cello)
(P) 1990 EMI France (5.18)
14. FANTASIA
The Sorcerer’s Apprentice (Dukas arr. Bates) (extract)
Oslo Philharmonic Orchestra / Mariss Jansons (P) 1990 (6.36)
15. BRAVEHEART
End titles (James Horner)
City of Prague Philharmonic Orchestra / Paul Bateman (P) 1995 Silva Screen Records Ltd+ (7.06)
CD 2 – THE CLASSIC MOVIES 62.42
1. SOMEWHERE IN TIME
Piano Concerto No. 2 in C minor (Rachmaninov) – II Adagio sostenuto (opening)
Cécile Ousset (piano)
City of Birmingham Symphony Orchestra / Sir Simon Rattle (P) 1984 (4.29)
2. CHARIOTS OF FIRE
Miserere mei, Deus (vv 1–4 & 17–20) (Allegri)
Timothy Beasley-Murray (treble) ∙ Gerald Finlay (cantor)
Choir of King’s College, Cambridge / Stephen Cleobury (P) 1984 (5.44)
3. THE DEER HUNTER
Cavatina (Stanley Myers)
Manuel Barrueco & Steve Morse (guitars) (P) 2001 Angel Records (3.13)
4. PLATOON
Adagio for Strings (Barber)
Philadelphia Orchestra / Eugene Ormandy (P) 1985/1985* (6.20)
5. DEATH IN VENICE:
Symphony No. 5 in C sharp minor (Mahler) – IV Adagietto (conclusion)
New Philharmonia Orchestra / Sir John Barbirolli (P) 1969/1988* (3.05)
6. AMERICAN BEAUTY
Any Other Name (Thomas Newman)
Produced and performed by Nikolaj Bloch & Sally Herbert (P) 2001 (4.05)
7. E.T.
E.T. Main Theme (John Williams)
Ron Goodwin and his Concert Orchestra (P) 1988 (3.57)
8. SCHINDLER’S LIST
Schindler’s List Main Theme (John Williams)
Tasmin Little (violin)
New World Philharmonic / Iain Sutherland (P) 1994 (5.02)
9. THE MISSION
Gabriel’s Oboe (Morricone)
Ennio Morricone and his Orchestra (P) 1987 Virgin Records Ltd (2.12)
10. WILLIAM SHAKESPEARE’S ROMEO + JULIET
Symphony No. 25 in G minor K183 (Mozart) – I. Allegro con brio (opening)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1977/1997* (4.41)
11. JEAN DE FLORETTE
Main theme (from La forza del Destino Overture by Verdi)
Hallé Orchestra / Sir John Barbirolli (P) 1979/1991* (2.54)
12. ALIEN
Serenade in G ‘Eine kleine Nachtmusik’ K525 (Mozart) – II. Romance
(Andante)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1977/1997* (5.43)
13. CINEMA PARADISO
Cinema Paradiso Love Theme (Morricone)
City of Prague Philharmonic Orchestra / Paul Bateman (P) 1996 Silva Screen Records Ltd+ (3.32)
14. EYES WIDE SHUT
Waltz No.2 from Jazz Suite No.2 (Shostakovich)
The Philadelphia Orchestra / Mariss Jansons (P) 1997 (3.43)
15. A CLOCKWORK ORANGE
Ode to Joy (Symphony No.9 in D minor ‘Choral’, Op.125) (Beethoven)
James Morris (bass) • The Westminster Choir
The Philadelphia Orchestra / Riccardo Muti (P) 1988 (3.21)
CD 3 – FAVOURITE MOVIES 75.10
1. ACE VENTURA: PET DETECTIVE
Serenade in G ‘Eine kleine Nachtmusik’ K525 (Mozart) – I. Allegro
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1977/1997* (5.49)
2. OUT OF AFRICA
Clarinet Concerto in A K622 (Mozart) – II. Adagio
Sabine Meyer (basset clarinet)
Staatskapelle Dresden / Hans Vonk (P) 1990 EMI Electrola GmbH (6.35)
3. AMADEUS
Concerto for Two Pianos in E flat K365 (Mozart) – III. Rondo (Allegro) Radu Lupu & André Previn (pianos)
London Symphony Orchestra / André Previn (P) 1977/1990* (6.44)
4. SIDEWAYS
Memories of the Alhambra (Tárrega)
Christopher Parkening (guitar) (P) 1976/2005* Angel Records (3.53)
5. THE JOY LUCK CLUB
Flute & Harp Concerto in C K299 (Mozart) II. Andantino (extract)
James Galway (flute) ∙ Fritz Helmis (harp)
Berliner Philharmoniker / Herbert von Karajan (P) 1972/1985* (3.57)
6. THE TALENTED MR. RIPLEY
Stabat Mater (Giovanni Battista Pergolesi)
Lesley Garrett (soprano) ∙ Robin Blaze (countertenor)
London Session Orchestra / Paul Daniel (P) 2003 (3.54)
7. LORENZO’S OIL
Ave verum corpus K618 (Mozart)
Stockholm Radio Chorus ∙ Stockholm Chamber Choir
Berliner Philharmoniker / Riccardo Muti (P) 1987 (3.23)
8. JFK
Horn Concerto No. 2 in E flat K417 (Mozart) – III. Rondo
Barry Tuckwell (horn)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1972/1988* (3.12)
9. CARRINGTON
String Quintet in C D956 (Schubert) – II Adagio (opening)
Hungarian Quartet ∙ Laszlo Varga (cello) (P) 1972/1992* EMI France (4.35)
10. RUNAWAY BRIDE
Le nozze di Figaro – Overture (Mozart)
Royal Philharmonic Orchestra / Sir Colin Davis (P) 1962/1990* (4.17)
11. HILARY AND JACKIE
Cello Concerto in E minor Op.85 (Elgar) – I. Adagio–Moderato (opening)
Robert Cohen (cello)
London Philharmonic Orchestra / Zdenĕk Mácal (P) 1980/1998* (3.44)
12. THE LIVING DAYLIGHTS
Symphony No. 40 in G minor K550 (Mozart) – I. Molto allegro (extract)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1987 (5.31)
13. ELIZABETH
Nimrod (‘Enigma’ Variations) (Elgar)
London Symphony Orchestra / Sir Adrian Boult (P) 1971/1986* (3.54)
14. MINORITY REPORT
‘Unfinished’ Symphony (Schubert) – I. Allegro moderato (opening)
Berliner Philharmoniker / Herbert von Karajan (P) 1976/1996* (4.07)
15. THERE’S SOMETHING ABOUT MARY
Serenade in G ‘Eine kleine Nachtmusik’ K525 (Mozart) – IV. Rondo (Allegro)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1977/1997* (3.03)
16. BILLY ELLIOT
Swan Lake (Scene Act II No.10) (Tchaikovsky)
London Symphony Orchestra / André Previn (P) 1976/1988* (2.47)
17. THE RIGHT STUFF
Jupiter, the Bringer of Jollity (conclusion) (The Planets, Op.32) (Holst)
Philharmonia Orchestra / Sir Simon Rattle (P) 1981 (4.48)
CD 4 – THE PIANO AT THE CINEMA 75.11
1. THE PIANO
The Heart asks Pleasure First / The Promise (Michael Nyman)† Music composed, directed and produced by Michael Nyman
(P) 1993 Michael Nyman Ltd under exclusive licence to Virgin Records Ltd (3.12 )
2. ELVIRA MADIGAN
Piano Concerto No. 21 in C K467 (Mozart) – II. Andante
Stephen Hough (piano)
Hallé Orchestra / Bryden Thomson (P) 1987 (6.45)
3. FACE/OFF
Prelude No.15 in D flat ‘Raindrop’ (Chopin)
Dmitri Alexeev (piano) (P) 1986 (5.50)
4. AMADEUS
Piano Concerto No.20 in D minor K466 (Mozart) – II. Romance (extract)
Annie Fischer (piano)
Philharmonia Orchestra / Sir Adrian Boult (P) 1960/1990* (6.13)
5. PRIVATE BENJAMIN
Waltz in C sharp minor Op.63 No.2 (Chopin)
Dmitri Alexeev (piano) (P) 1985 (4.12)
6. THE TRUMAN SHOW
Rondo alla turca from Piano Sonata No.11 in A K331 (Mozart)
Andrei Gavrilov (piano) (P) 1990 (3.25)
7. THE ASSOCIATE
Piano Concerto No.25 in C K503 (Mozart) – II. Andante
Christian Zacharias (piano)
Symphonie-Orchester des Bayerischen Rundfunks / David Zinman
(P) 1987 EMI Electrola GmbH (7.06)
8. A BEAUTIFUL MIND
Piano Sonata No.11 in A K331 (Mozart) – I. Andante grazioso (Theme)
Andrei Gavrilov (piano) (P) 1990 (1.56)
9. IMMORTAL BELOVED
Piano Sonata No. 14 in C sharp minor ‘Moonlight’ Op. 27/2 (Beethoven)
I Adagio sostenuto (extract)
Dame Moura Lympany (piano) (P) 1991 (3.55)
10. THE PIANIST
Nocturne in C sharp minor Op. Posth (1830) (Chopin)
Maria Tipo (piano) (P) 1994 EMI France (4.21)
11. THE MUSIC LOVERS
Piano Concerto No.1 in B flat minor (Tchaikovsky)
I. Allegro non troppo e molto maestoso (opening)
Horacio Gutiérez (piano)
London Symphony Orchestra / André Previn (P) 1976/1994* (3.20)
12. WHAT LIES BENEATH
Gymnopédie No.1 (Lent et douloureux) (Satie)
Anne Queffélec (piano) (P) 1988 EMI Records Ltd/Virgin Classics (3.31)
13. PAYCHECK
Waltz in D flat ‘Minute’ Op.64 No.1 (Chopin)
Dmitri Alexeev (piano) (P) 1985 (1.49)
14. ROSEMARY’S BABY
Für Elise (Bagatelle No.25) (Beethoven)
Dame Moura Lympany (piano) (P) 1988 (3.18)
15. THE TRUMAN SHOW
Piano Concerto No.1 in E minor Op.11 (Chopin) – II. Romance: Larghetto (opening)
Martha Argerich (piano)
Montreal Symphony Orchestra / Charles Dutoit (P) 1999 (3.51)
16. OCEAN’S ELEVEN
Clair de lune (Debussy)
Dame Moura Lympany (piano) (P) 1988 (4.54)
17. SHINE
Polonaise No.6 in A flat Op.53 (Chopin)
Alex Slobodyanik (piano) (P) 1999 (6.45)
CD 5 – OPERA AT THE CINEMA 72.35
1. THE BRIDGES OF MADISON COUNTY
Casta Diva (Norma) (Bellini)†
Maria Callas (soprano)
Coro e Orchestra del Teatro alla Scala di Milano / Tullio Serafin (P) 1961/1997* (5.33)
2. CAPTAIN CORELLI’S MANDOLIN
La donna è mobile (Rigoletto) (Verdi)
Alfredo Kraus (tenor)
Philharmonia Orchestra / Julius Rudel (P) 1979/1996* (2.15)
3. CLOSER
Soave sia il vento (Così fan tutte) (Mozart)
Margaret Marshall (soprano) ∙ Agnes Baltsa (mezzo-soprano) ∙ José van Dam (bass)
Wiener Philharmoniker / Riccardo Muti (P) 1983
Live recording (3.19)
4. BASQUIAT
D’amor sull’ali rosee (Il trovatore) (Verdi)
Leontyne Price (soprano)
Berliner Philharmoniker / Herbert von Karajan (P) 1978/1986* (4.41)
5. TRADING PLACES
Non più andrai (Le nozze di Figaro) (Mozart)
Claudio Desderi (baritone)
London Philharmonic Orchestra / Bernard Haitink (P) 1988 (3.38)
6. COPYCAT
Vissi d’arte (Tosca) (Puccini)
Angela Gheorghiu (soprano)
Orchestra of the Royal Opera House, Covent Garden / Antonio Pappano
(P) 2001 Euripide Productions under exclusive licence to EMI Records Ltd (3.25)
7. MY LEFT FOOT
Un’aura amorosa (Così fan tutte) (Mozart)
John Aler (tenor)
London Philharmonic Orchestra / Bernard Haitink (P) 1987 (4.42)
8. MISS CONGENIALITY
Der Hölle Rache (Die Zauberflöte) (Mozart)
Edita Gruberova (soprano)
Symphonie-Orchester des Bayerischen Rundfunks / Bernard Haitink (P) 1981 (2.47)
9. THE SHAWSHANK REDEMPTION
Canzonetta sull’aria (Le nozze di Figaro) (Mozart)
Dame Felicity Lott & Gianna Rolandi (sopranos)
London Philharmonic Orchestra / Bernard Haitink (P) 1988 (3.04)
10. PHILADELPHIA
La mamma morta (Andrea Chénier) (Giordano)†
Maria Callas (soprano)
Philharmonia Orchestra / Tullio Serafin (P) 1955/2005* MONO (4.52)
11. BABETTE’S FEAST
Là ci darem la mano (Don Giovanni) (Mozart)
Eberhard Wächter (baritone) ∙ Graziella Sciutti (soprano)
Philharmonia Orchestra / Carlo Maria Giulini (P) 1961/2002* (3.14)
12. HEAVENLY CREATURES
E lucevan le stelle (Tosca) (Puccini)
Carlo Bergonzi (tenor)
Orchestre de la Société des Concerts du Conservatoire / Georges Prêtre (P) 1965/1997* (3.02)
13. CALLAS FOREVER
L’amour est un oiseau rebelle (Habanera) (Carmen) (Bizet)†
Maria Callas (soprano)
Chœurs René Duclos
Orchestre du Théâtre National de l’Opéra de Paris / Georges Prêtre (P) 1964/1997* (4.19)
14. MOONSTRUCK
Che gelida manina (La Bohème) (Puccini)
Alfredo Kraus (tenor)
National Philharmonic Orchestra / James Levine (P) 1980/1991* (4.59)
15. DRIVING MISS DAISY
Song to the Moon (Rusalka) (Dvořák)
Lucia Popp (soprano)
Münchner Rundfunk Orchester / Stefan Soltesz (P) 1988 (5.51)
16. DIVA
Ebben? ne andrò lontana (La Wally) (Catalani)
Ghena Dimitrova (soprano)
Münchner Rundfunk Orchester / Lamberto Gardelli (P) 1984 (3.26)
17. LIFE IS BEAUTIFUL
Belle nuit (Barcarolle) (Les Contes d’Hoffmann) (Offenbach)
Jessye Norman (soprano) ∙ Ann Murray (mezzo-soprano)
Orchestre Symphonique et Chœurs de l’Opéra National
du Théatre Royal de la Monnai, Bruxelles / Sylvain Cambreling (P) 1988 (4.20)
18. THE WITCHES OF EASTWICK
Nessun dorma (Turandot) (Puccini)
José Carreras (tenor) • Chœurs de l’Opéra du Rhin
Orchestre Philharmonique de Strasbourg / Alain Lombard (P) 1978/1990* (4.11)
CD 6 – BAROQUE GOES TO THE CINEMA 69.48
1. FOUR WEDDINGS AND A FUNERAL
The Arrival of the Queen of Sheba (Solomon) (Handel)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1984 (2.47)
2. THE AVIATOR
Fugue (from Toccata & Fugue in D minor BWV 565) (J. S. Bach)
Wayne Marshall at the organ of Coventry Cathedral (P) 1990 (6.17)
3. THE MADNESS OF KING GEORGE
Zadok the Priest (Handel)
Royal Choral Society
London Philharmonic Orchestra / Sir Andrew Davis (P) 1972/1996* (6.01)
4. CHILDREN OF A LESSER GOD
Double Violin Concerto in D minor BWV 1043 (J. S. Bach)
II. Largo ma non tanto (opening)
Yehudi Menuhin & Christian Ferras (violins)
Bath Festival Orchestra / Yehudi Menuhin (P) 1960/1989* (2.32)
5. SOMEONE TO WATCH OVER ME
Gloria in excelsis Deo (Gloria) (Vivaldi)
Taverner Choir and Players / Andrew Parrott (P) 1994 EMI Records Ltd/Virgin Classics (2.32)
6. TRULY, MADLY, DEEPLY
Viola da Gamba Sonata in G minor BWV1029 (J. S. Bach) – II Adagio
(opening)
Jordi Savall (viola da gamba) ∙ Ton Koopman (harpsichord)
(P) 1978/1989* EMI Electrola GmbH (2.30)
7. GALLIPOLI
Adagio in G minor (Albinoni realised Giazotto) (extract)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1974/1986* (5.48)
8. KRAMER V. KRAMER
Mandolin Concerto in C RV425 (Vivaldi) – I. Allegro
André Saint-Clivier (mandolin)
Toulouse Chamber Orchestra / Louis Auriacombe (P) 1968/1987* EMI France (2.56)
9. THE SILENCE OF THE LAMBS
Goldberg Variations (J. S. Bach) – Aria
Maria Tipo (piano) (P) 1986 EMI France (3.02)
10. PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL
Concerto Grosso Op.6 No.12 (Handel) – III Larghetto e piano
Bath Festival Orchestra / Yehudi Menuhin (P) 1964/1999* (4.11)
11. RUNAWAY BRIDE
Air ‘on the G string’ from Suite No.3 in D BWV1068 (J. S. Bach)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1974/1997* (3.31)
12. ORDINARY PEOPLE
Canon in D (Pachelbel)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1974/1997* (4.58)
13. THE OTHER SISTER
The Four Seasons (Vivaldi) – Concerto No.4 in F minor ‘Winter’ (II. Largo)
Yehudi Menuhin (violin) • Camerata Lysy Gstaad / Alberto Lysy (P) 1981 (2.09)
14. MEET THE PARENTS
Jesu, Joy of Man’s Desiring from Cantata No.147 (J. S. Bach) 3.28
Choir of King’s College, Cambridge
Academy of St Martin in the Fields / Sir David Willcocks (P) 1972/1989*
15. BARRY LYNDON
Sarabande from Keyboard Suite in D minor (Handel) Andrei Gavrilov (piano) (P) 1982/1996* (2.59)
16. LARA CROFT: TOMB RAIDER
Keyboard Concerto No. 5 in F minor BWV1056 (J. S. Bach) – II. Largo Andrei Gavrilov (piano)
Academy of St Martin in the Fields / Sir Neville Marriner (P) 1987 (3.24)
17. HANNIBAL
Brandenburg Concerto No.3 in G BWV 1048 (J. S. Bach)
I. Allegro moderato
Polish Chamber Orchestra / Jerzy Maksymiuk (P) 1979/1997* (5.15)
18. BRIDGET JONES’S DIARY
Hallelujah Chorus (Messiah) (Handel)
Choir of King’s College, Cambridge
Academy of St Martin in the Fields / Sir David Willcocks (P) 1973/1992* (4.26)
Jane Eyre/Bernard Herrmann
February 9, 2012
Is it coincidence that two releases of the Bernard Herrmann soundtrack to Jane Eyre (1943) have been made available at the same time? Not really as we just celebrated Herrmann’s birth of 100 years. Parts of the original soundtrack and the Naxos recording have been previously released. The Naxos recording (8.572718) is a reissue of the Marco Polo one (8.223535) from 1994. The CD’s are exactly the same. Jane Eyre is also part of the (14) CD Herrmann/20th Century Fox box from Varese Sarabande and offers a complete version of the OST. There are additional cues from the previous releases plus a bonus track of an alternate “Prelude” cue. The previous release that contained the greatest number of cues was a Soundtrack Library 002 bootleg. The sound from the OST is from a mono source and while Varese Sarabande improved the quality, the soundtrack and film have suffered from old age and as a result you’ll hear things that couldn’t be repaired. It can’t compare to the digital Naxos release in terms of sound quality. Adriano, the conductor, is quick to point out that the re-construction should not be compared with the original material from Herrmann. He comments further that this is a newly interpreted piece and should be approached in that fashion. Neither can replace an outstanding suite, orchestrated and conducted by the composer in 1970 as part of a series of recordings done for London (CD# 448 948-2) and their Phase Four Stereo series, some of the finest analog material ever recorded. Like the RCA Gerhardt series these are outstanding recordings and deserve a place in your collection in addition to the Naxos recording.
Jane Eyre(1943) starred Orson Welles as Rochester, Joan Fontaine as Eyre, Margaret O’Brien as Adele Varens, Peggy Ann Garner as Jane Eyre as a child, Henry Daniell as Henry Brocklehurst, Agnes Moorehead as Mrs. Reed and Elizabeth Taylor in an uncredited role. Directed by Robert Stevenson, a long time veteran, who might be best known for Mary Poppins, he began directing in 1932 and didn’t stop for 50 years. If you’re familiar with Orson Welles you’ll certainly see his influence in this 20th Century Fox high budget (1.7 million) film. With the tagline of “a love story every woman would die a thousand deaths to live” the often used obnoxious slogan chick flick applies.
Jane Eyre was the fourth film for Herrmann with his first three being Citizen Kane (1941), The Devil and Daniel Webster (1941), and The Magnificent Ambersons (1942). It was also the beginning of a long relationship with 20th Century Fox that lasted for many years. However, this was a case where Herrmann was the second choice to do the film with the first being Igor Stravinsky who turned down the assignment. All of the mentioned films were written at a time when classical music was also part of Herrmann’s life. He had written a symphony in 1941 and had also completed his opera “Wuthering Heights” during this time period. What you’ll hear is a very classical score to this gothic romantic film. If you’re a fan of Herrmann you’ll hear many cues from other films that germinated from this soundtrack.
Highlights include the “Prelude” (audio clip included see track listing) which offers two of the major themes that you’ll hear throughout the course of this soundtrack. The ominous horns begin the serious main title. The theme is quickly picked up by the strings and it is carried in a heavy Germanic style. Then with little warning there is the theme for Jane offered by the sad oboe that instantly recognizes the Herrmann sound. “Jane’s Departure” begins with a new theme from the horns which is quite sad and mellow concentrating in the lower register. It ends with her carriage ride which is from a short section of “Swing Your Partners” from The Devil and Daniel Webster. You’ll also hear this theme briefly in “The Wedding-The Wife” which goes from happy and carefree with church bells to dark and ominous with a fugue from the organ. This 2:27 cue runs the entire gamut of emotions! “Thornfield Hall-Valse Bluette” reveals the Rochester theme in a brooding dissonant rendition. It is a far more complex theme than the Prelude or Jane themes. The “Valse Bluette” is a musical box theme created with a synthesizer for this recording. The Rochester theme is also featured on “Rochester’s Past” as first a sad variation which changes to a dissonant very difficult passage to play. It reveals both sides of an extremely complex bipolar character. The prelude theme is performed again but this time as depressing as Herrmann can muster. “Finale” is another variation of the prelude theme followed by a major key uplifting of the Jane theme and a bold happy ending crescendo.
Enjoy this new digital recording as a new take on the material and you won’t be disappointed. It is well recorded and performed by Adriano and the Slovak Radio Symphony Orchestra.
Track Listing:
Total Duration: 01:07:27 |
The Artist/Ludovic Bource
February 3, 2012
If ever a film of recent vintage deserves the Oscar for best original music The Artist has my vote. If Michel Hazanavicious was looking for something unique to do he certainly achieved it with this black and white silent film. There is no dialog only the wonderful soundtrack which becomes the voice of the film. The story begins in 1927 as George Valentin played by Jean Dujardin is nearing the end of a long and successful career as a silent star. He meets Peppy Miller, an extra, who is going to become a star in the ‘talkies’ which are right around the corner. In his refusal to adapt to the inevitable they fall in love as the story is told. It costars James Cromwell, John Goodman, Ed Lauter, Penelope Ann Miller, and Malcolm McDowell.
As the music was the voice of the film Ludovic Bource was able to take full advantage of the opportunity to craft a soundtrack that is a standalone experience away from the film. Featuring the Flanders Philharmonic the soundtrack offers symphonic, modern, big band, 20’s sound, and classical as well as making use of early Duke Ellington recordings. This is my first experience with a Bource soundtrack and overall I was very impressed with what he brought to the film.
Highlights from the 78 minute soundtrack include a big band arrangement “Peppy and George” mimicking the same style as the famous Benny Goodman “Sing Sing Sing with a Swing” with a rhythm that makes you want to get up and dance. This is the final scene of the picture where George and Peppy are doing an Astaire/Rogers dance. “The Artist Ouverture,” begins the film with a strong reference to Waxman’s Sunset Boulevard, a similar plot to the film. It is a very brief cue that offers crisp staccato brass and a strong major key melody from the strings. “1927 A Russian Affair” offers an obvious reference to Waxman’s The Bride of Frankenstein complete with the monster motif in a scene where George is being tortured with electricity. It also offers references to Herrmann’s On Dangerous Ground, with that haunting brass fanfare. The brass section gets a workout with some very quick well played double tonguing passages. “George Valentin” is the perfect theme for our silent star actor. Happy go lucky, somewhat comical it will be used in other tracks. “Pretty Peppy” is the theme for our heroine and has a similar sound to George’s theme but has an air of gaiety and style about it. “At the Kinograph Studios” continues in the same style although one is lulled into thinking more of something that Gershwin might have done. “Waltz for Peppy” is an elegant track that offers the Peppy theme in a traditional waltz. “Silent Rumble” is certainly a fun track filled with more references to Waxman, Korngold, and John Williams. “Estancia” is from the ballet composed by Alberto Ginastera and is a lush romantic interlude. “My Suicide” makes one think of a Bernard Herrmann idyll such as “For The Fallen.” In fact the temp track was from Vertigo and is used in the film as the track wasn’t ready in time for the Cannes Film Festival premiere. Included in the mix of material are a piano sonata “Comme Une Rosee De Larmes,” a minor themed very sad “The Sound of Tears,” and the quite comical “Jungle Bar,” which makes effective use of the bass clarinet and percussion, and a Dies Irae reference in “L’Ombre Des Flammes.” Rounding out the material is “Pennies from Heaven,” “Imagination,” and “Jubilee Stomp,” all source material well used in the score.
This is a fun easy on the ears experience that is easy to recommend if you’re looking to recapture some of the Golden Age. Nicely performed by the Flanders Philharmonic and well recorded with clear crisp treble and deep resonant bass I’ll be disappointed if it doesn’t win the Oscar. I’ve included a couple of audio clips. 01 – The Artist Ouverture Peppy and George
Track listing
Total Duration: 01:17:58 |
Film and Classical Music: Neglected Art 