FILM MUSIC REVIEW (CD Reviews - Previous Compilations 2000)

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Previous Compilations (January - June 2000)

With so many new releases coming out these days, it is very difficult to review everything. So, only a selected bunch of compilations are reviewed here. Each month one or two compilations are highlighted as Editor's Choices for BEST OF THE MONTH.

No bootlegs or other illegal CDs are reviewed or discussed here. I don't recommend buying them because the composers or their estates lose any royalties they deserve.

To find other web sites about film composers, magazines, soundtracks and record labels, go to: LINKS

Ratings for Previous Compilations (January - June 2000):

***** (Superlative) = 0

**** (Excellent) = 6

***1/2 (Very Good) = 5

*** (Good) = 1

** (Fair) = 0

* (Poor) = 0

TOTAL = 12

The CDs have been chosen to cover a broad range of new and vintage soundtracks. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.

Editor's Choice - Best of the Month

Previous Compilation Reviews (January - June 2000)

Editor's Choice - Best of the Month, April 2000

ADVENTURES OF SUPERMAN - Music From The Original 1950s Television Series (72:14). Music composed by Hershel Burke Gilbert, Rudy Shrager, others. CD Produced, Compiled and Edited by Paul Mandell. Executive Producer: Bruce Kimmel.

Music Restoration: Graham Newton.

CD Package Design: Andrea Sine.

Varese Sarabande 302 066 093 2.

Rating: ***1/2

Track Titles:

1. Superman Main Title (0:58)

2. The Slap (1:50)

3. Violin Scream (1:17)

4. Brawl (4:23)

5. Tympani Beat Tension (2:14)

6. Delirium (1:30)

7. Build to Sting (0:28)

8. The Skeleton (2:33)

9. Last Reel Fight (2:57)

10. Creeping Misterioso (1:27)

11. Murder Will Out (2:18)

12. Spectral Thumps (1:59)

13. Mounting Drama (0:55)

14. The Fight (1:38)

15. Hit and Run! (1:17)

16. A Nightmare (1:33)

17. Quiet Tension (1:32)

18. Spreading Misterioso (4:18)

19. Blood and Thunder/ Just in Time (2:29)

20. Beating Heart (4:20)

21. The Battle (2:26)

The Monkey Mystery Suite (22-26):

22. Brutal Regiment (0:46)

23. Moleska's Plight (2:11)

24. Tender Secret (1:41)

25. Cue for String Orchestra (1:42)

26. Tragic Tension (1:42)

27. June Waltz (1:41)

28. La Tango (2:02)

Superman on Earth Suite (29-32):

29. Smallville Pastorale (1:40)

30. Years Go By (1:51)

31. He Was A Good Father (2:24)

32. A Mother's Farewell (0:39)

33. Shadows on the Wall (2:45)

34. Revenge! (2:23)

35. Superman End (long version)(1:07)

"Look, up in the sky! It's a bird...it's a plane...it's Superman!" Now, if you're someone who remembers that classic introduction, then you'll enjoy this compilation from the ADVENTURES OF SUPERMAN television series. It will bring you much joy when listening to this compilation of music used in various episodes of the series, starring a somewhat flabby but capable actor, George Reeves. It became one of the most popular kids programs from the early days of television in the 1950s. The series is shown on television stations and some episodes are available on video. But it's a special treat to be able to hear the music without the dialogue.

The opening Main Title, with the unforgettable narration included, is enough to send anyone who loved this series, like I did, into nostalgia heaven. As I listened to the familiar themes, I remember how often they were used as stock music for the Superman series. According to the fascinating notes by Paul Mandell, much of the music used for the series was gathered from B movie studio soundtracks. The person who supplied the music was David Chudnow, who formed Mutel (Music for Television) in 1950. Mandell writes that the series music was taken mostly from three B movies: OPEN SECRET (PRC, 1948), music by Herschel Burke Gilbert (tracks 2-3, 5-7, 14-15; 23-26), re-orchestrated by Joseph Mullendore; THE GUILTY (Monogram, 1947), music by Rudy Shrager (16, 29-32); and the third one is not certain but may have been originally composed by Lan Adomian or Richard Mohaupt and orchestrated by Jack Shaindlin for a documentary about Native Americans. That third one provides more cues than any other (tracks 4, 8-12, 18-21, and 33-34) and has the most interesting music. This music is highly descriptive in its treatment, such as "Creeping Misterioso," with its strange, slithering sounds. Or "Beating Heart," with memorable use of timpani and rhythmic brass and woodwinds. Very effective writing is displayed here, and was used for other television series as well: CAPTAIN MIDNIGHT, RACKET SQUAD, RAMAR OF THE JUNGLE, SKY KING, and SPACE PATROL.

My favorite cues are from the Superman on Earth Suite (tracks 29-34). They are sweetly rendered themes and are similar in stylistic intent to the heartfelt ones used by John Williams in his monumental score for SUPERMAN: THE MOVIE. There is also the Main Title, without the narration (track 35). As an extra added treat, there's a delightful Kellogg's Corn Flakes Cereal commercial at the end (track 36, not listed on the Track Titles).

The 8 page booklet has much useful information, including information about the music sources, plus the scores and cues are identified. While it is not clear who composed the famous opening "Signature Theme" for ADVENTURES OF SUPERMAN, the evidence points to Jack Shaindlin, who orchestrated and recorded it in 1952.

The jewel box and booklet design by Andrea Sine are both attractive and easy to read. Why can't more CD designers follow this kind of clear and simple artwork?

The biggest drawback is the mediocre vintage sound. Considering that these are the original television soundtracks from the early 1950s, they still sound quite decent for their age.

If you're a fan of any aspect of Superman (the movies, the comics, the animated films, the serials, or specially the television series), you'll want to add this wonderful CD to your collection.

It's a real charmer of a compilation and provides a generous amount of music as well. Recommended especially for Superman fans and those who enjoy vintage soundtracks.

--review by Roger Hall, 16 April

Editor's Choice - Best of the Month , March 2000

CINEMA CONCERTO - ENNIO MORRICONE AT SANTA CECILIA (Total Time = 62:19). Music composed by Ennio Morricone. Orchestra of the Accademia Nazionale Di Santa Cecilia, conducted by Ennio Morricone. Chorus of the Accademia Nazionale di Santa Cecilia, Ciro Visco, Chorus Master. Children's Chorus of the Accademia Nazionale, Martino Faggiani, Chorus Master. Produced by David Mottley. Executive Producer: Ennio Morricone.

Recorded in Rome, November 1998.

Music Notes: Didier C. Deutsch.

Recording Engineer: Mike Sheady.

Sony Classical CD SK 61672.

Rating: ****

Track Titles:

1. Movie Theme - CINEMA PARADISO (2:15)

2. Love Theme - CINEMA PARADISO (3:12)

3. INVESTIGATION OF A CITIZEN ABOVE SUSPICION (3:00)

4. "Ricordare" - A PURE FORMALITY (3:29)

5. BUGSY (4:28)

6. H2S (2:46)

7. Titles - THE GOOD, THE BAD AND THE UGLY (3:04)

8. ONCE UPON A TIME IN THE WEST (2:54)

9. FISTFUL OF DYNAMITE (4:06)

10. The Ecstasy of Gold - THE GOOD THE BAD AND THE UGLY (3:28)

11. LOVE CIRCLE (5:21)

12. "A Brisa Do Coraco" - PEREIRA DECLARES (3:45)

13. THE WORKING CLASS GOES TO PARADISE (3:59)

14. CASUALTIES OF WAR (5:37)

15. "Abolicao" - BURN! (4:49)

16. "Gabiel's Oboe" - THE MISSION (2:17)

17. "On Earth As It Is In Heaven" - THE MISSION (3:36)

Nicola Piovani may have won the Oscar year for LIFE IS BEAUTIFUL, but Ennio Morricone deserves to win one even more. Just take a look at the titles on this marvelous CD compilation and you're sure to recognize some real gems. It may be the memorable themes from CINEMA PARADISO, or the spaghetti westerns of Sergio Leone, or one of my personal favorites, THE MISSION - which I believe should have won the Oscar in 1986, instead of Herbie Hancock's jazz arrangements for ROUND MIDNIGHT.

One of the best things about this compilation is that it was conducted and presumably also arranged by the composer himself. The themes are sometimes slower or arranged differently than you might be familiar with on the soundtracks. There are also some themes from less well-known films as well as the big hits. But most of them should be familiar to Morricone's many fans.

The first two tracks are from one of his greatest triumphs, Giuseppe Tornatore's, CINEMA PARADISO. The lovely Movie Theme is first heard on a solo piano, which is then reinforced by the orchestra in subtle fashion. This track is followed by the equally beautiful Love Theme, composed by Ennio Morricone's son, Andrea. The theme is introduced by a solo clarinet, then a solo flute. I must confess that this ravishing theme still brings tears to my eyes, especially in this glorious setting.

There are several fine tracks featuring vocals. The first of these is "Ricordare" from Tornatore's A PURE FORMALITY. This vocal is sung whisper softly and very expressively by Angelo Branduardi. Another of Morricone's beautiful melodies. I didn't care as much for the rather slippery singing of Gemma Bertagnoli on the Leone's FISTFUL OF DREAMS track. Her singing is a bit stronger on the next track from THE GOOD, THE BAD AND THE UGLY. The other track featuring a solo vocalist Dulce Pontes singing from the film, PEREIRA DECLARES. She has a more pop sounding voice than Gemma Bertagnoli. Whether you like her voice will depend on if you like such more ethnic sounding singers. I don't think the music from that film is one of the highlights on this compilation. But it's not really that bad a theme.

The less well-known tracks are quite good. As he has shown to great effect in his Golden Globe-winning score, THE LEGEND OF 1900 [see Previous Reviews ], many of his scores grow out of relatively simple repeated motifs. One example of this is on track 11 for Giuseppe Patroni-Griffi's LOVE CIRCLE, where the solo piano plays the opening jazz motif continually, with some alterations, as other instruments join in from time to time. I found it to be one of the memorable tracks on the CD. Other enjoyable tracks for me were: the driving theme from Elio Petri's THE WORKING CLASS GOES TO PARADISE; the lovely soothing theme with wordless chorus from Brian De Palma's CASUALTIES OF WAR; and the majestic and exotic "Abolicao," once again featuring the chorus, from Gillo Pontecorvo's film, BURN!

The compilation is nicely finished off with two classic tracks from Roland Jaffe's underrated film, THE MISSION. "Gabriel's Oboe" is probably one of Morricone's best known themes and it derves to be. The other theme is equally well known, "On Earth As It Is In Heaven," and as magnificent as you're likely to find in any film. I fell in love with this theme the first time I heard it and have never tired of it. It works extremely well in the film. The version heard on this compilation pulls out all the stops and moves ahead with growing intensity. Unfortunately, the mix on this track is not quite ideal. But it's still impressive and ends this CD with the appropriate grand flourish.

Helpful background notes in English, German and French on Morricone's long career are presented by Didier C. Deutsch. Some information about the less familiar films (A PURE FORMALITY, LOVE CIRCLE, PEREIRA DECLARES) would have been appreciated. But in the end, it's the music that counts the most.

I would highly recommend this compilation to Italian film score fans, to film music collectors, and to anyone who wants a generous sampling from the music of one of today's greatest film composers, Ennio Morricone. This concert of his film music will reward you with much enjoyable listening.

--review by Roger Hall, 12 March

DOCTOR ZHIVAGO - The Essential Maurice Jarre Film Music Collection. The City of Prague Philharmonic, conducted by Paul Bateman and Nic Raine. Crouch End Festival Chorus, David Temple, choir master. The Philharmonica Orchestra, conducted by Tony Bremner. Produced by James Fitzpatrick.

Chief Digital Recording Engineer: John Luard Timperley.

Recorded at Smecky Studios, Prague (except for LAWRENCE OF ARABIA - recorded at CTS Studios, Wembley). Dolby Surround HDCD.

Music Notes: James Fitzpatrick.

Silva Screen Records America SSD 1108.

Rating: ***1/2

Disc One (71:04):

* = City of Prague Philharmonic, conducted by Nic Raine

** = The Philharmonia Orchestra, conducted by Tony Bremner

*** = Electronic Music Realised by Mark Ayres

1. LAWRENCE OF ARABIA - Overture (4:25)**

2. DOCTOR ZHIVAGO - Suite (9:11)

3. A PASSAGE TO INDIA - Adela's Theme (2:23)

4. JESUS OF NAZARETH - Suite (8:21)

5. GHOST - End Credits (4:26)

6. VILLA RIDES - Main Theme (3:28)

7. THE FIXER - Suite (7:11)

8. MAD MAX: BEYOND THUNDERDOME - Fanfare/ "I Ain't Captain Walker" (5:00)

9. RED SUN - Main Title/ The Samurai (6:59)

10. TOPAZ - March (2:36)

11. THE MOSQUITO COAST - Allie's Theme (3:34)***

12. THE YEAR OF LIVING DANGEROUSLY - Kwan's Sacrifice (4:03)***

13. WITNESS - Building The Barn (5:01)***

14. IS PARIS BURNING? - The Paris Waltz (3:52)

Disc Two (71:57):

1. DOCTOR ZHIVAGO - Lara's Theme (3:17)

2. RYAN'S DAUGHTER - Suite (8:53)

3. THE PROFESSIONALS - Overture (5:23)*

4. FATAL ATTRACTION - Theme (4:59)

5. THE TIN DRUM - Suite (6:56)

6. NO WAY OUT - Main Title (3:29)***

7. ENEMY MINE - Suite (9:25) */ ***

8. THE NIGHT OF THE GENERALS - (3:53)

9. EL CONDOR - Main Title (3:20)

10. THE MAN WHO WOULD BE KING (4:24)

11. WITNESS - Building the Barn (Orchestral Version)(4:39)

12. LAWRENCE OF ARABIA - Suite (12:58)**

Continuing their enjoyable series of composer compilations, with some excellent ones (Herrmann and Goldsmith) and some less good ones (Horner and Williams), this Silva Screen set of film music by Maurice Jarre falls somewhere in between the others. The choice of music is excellent but the scores are not all outstanding. I have found some of Jarre's music to be very predictable and uneventful. But there's lots to choose from on this 2-CD set with over two hours of music, including all fifteen tracks from a previously released CD with the same title (Silva Screen SSD 1047, 1995).

The first disc from the latest set begins with samples from his three Oscar-winnning scores, all from David Lean films. The first one deserves the status of a classic score, the other two are much less classy, IMHO. I'm not much of a fan of DOCTOR ZHIVAGO but it's a very popular score so I'm not surprised to see it given the title for the set and two tracks as well. The other score which gets two tracks is the much superior score for LAWRENCE OF ARABIA. Music from this glorious epic film opens the first disc and closes the second disc with a generous 12 minute suite. The theme from A PASSAGE TO INDIA is rather lightweight for such an intense dramatic film and I've never understood why it was given an Academy Award.

Following the Lean films are seven film score themes and suites which cover quite a bit of territory, from the darkly dramatic theme for JESUS OF NAZARETH (one of Jarre's most inspired scores, even if it does at times recall Rozsa's classic BEN-HUR score) to the ironic waltz from IS PARIS BURNING? Some of these scores are very good, such as the somber violin music from THE FIXER (well before Williams did similar things in SCHINDLER'S LIST). But other scores, I don't find very memorable, including MAD MAX: BEYOND THUNDERDOME, with its splashy brass and forgettable themes, featuring the chorus in phony sounding action music. Another score I didn't particularly care for was RED SUN - dull and uninspired exotic sounding music. The march from TOPAZ is much better, forceful and direct in its thematic material.

The next three tracks offer samples from Peter Weir films and provide some of Jarre's electronic 1980s film music. All three score themes are performed capably by Mark Ayres. They all have a dreamy quality to them, but I'd rather hear them with orchestral rather than strictly synthesizer sounds. Fortunately, this is possible with Jarre's Oscar-nominated score, WITNESS, with the memorable "Building The Barn" theme. It's first heard with the synthesizer on disc one and then again in an orchestral setting on the second disc. I much prefer the orchestral version.

Disc Two opens with two more examples from David Lean films: more DOCTOR ZHIVAGO and the very good suite from RYAN'S DAUGHTER. Then there are nine more films represented. Among the highlights for me were the theme from FATAL ATTRACTION, with its moody music progressing through a series of solos by piano, trumpet, and other instruments before the full treatment of the orchestra. Other tracks I particularly enjoyed are the heavy brass march and lighter waltz from NIGHT OF THE GENERALS; and the traditional tune, "The Minstrel Boy," along with original themes in THE MAN WHO WOULD BE KING. I didn't care as much for others, including NO WAY OUT (medicore theme with annoying synth sound effects), and the overly long suite from ENEMY MINE (weird synth sounds and subdued orchestra joined together as if from two different films).

The booklet design by Colin Parker is not very appealing with its drab black and white cover. Surely Maurice Jarre's film music is much more colorful than the bland cover art suggests. What makes the design even worse are silver ink lines dripping down all the pages. These lines make James Fitzpatrick's helpful notes more difficult to read. What's the point of this silly design? We want to read the notes, not look at ink spills! I wish Silva Screen would rethink their booklet designs and make them less cute. They are among the worst I've seen.

The playing by the City of Prague Philharmonic is quite good. Sound is very full and bright, though to my sensitive ears a bit louder than necessary.

Even with all my reservations, I think this is an outstanding sampling of Jarre's music. It includes more good scores than medicore ones. This set should appeal to those who want these themes all in one handy collection demonstrating Jarre's diverse film music output.

--review by Roger Hall, 21 March

For more information, go to: www.silvascreen.com

Editor's Choice - Best of the Month, May 2000

ELECTRIC SHADOWS - Film Music by Zhao Jiping (Total Time = 77:09). China Symphony Orchestra and Chorus, conducted by Hu Bing Xu. Executive producer: Wolfgang Mohr. Recording producer: Friedemann Engelbrecht. Executive Recorded at China Beijing Film Studio, March 4-8, 1999.

Recording engineer: Michael Bramman.

Digital editing: Philipp Nedel.

Assistant recording engineer: Zhang Zheng De

Translator: Wang Xin.

Teldec 0630-17114-2.

Rating: ****

Track Titles:

TO LIVE (1993)

1. Fu Gui and Jia Zhen (2:56)

2. Life's Years like Flowing Water (5:04)

SUN BIRD (1997)

3. Two trees (4:55)

4. Spirit of the Peacock (9:22)

5. JU DOU (1990)(7:45)

FAREWELL MY CONCUBINE (1993)

6. Brotherly Love and Stage Life (3:01)

7. The Curtain Falls (8:48)

RED FIRECRACKER, GREEN FIRECRACKER (1993)

8. The Love between Chun Zhi and Niu Bao (8:03)

9. On the Yellow River: Unflinching Love (7:38)

RAISE THE RED LANTERN (1991)

10. Overture (5:17)

11. Women (Xu Lian and Mei Shan)(5:09)

12. Face (3:32)

13. Metempsychosis (5:27)

Zhao Jiping is China's best known and most respected film composer. He was born in Shuli in Hebei Province in 1945. He studied at Xi'an Academy of Music and has been a composer since 1970. This is a marvelous compilation of his scores, all composed during the 1990s. For this special Teldec recording, the first time the label has recorded in China, Jiping reworked his film scores into two or more themes. The result is a generous sampling of his film music.

Jiping combines the use of traditional Chinese instruments ("Erh-hu" or two-string bowed fiddle; "Bawu" or bamboo flute; "P'i-p'a" or four string lute) along with the more familiar Western symphony orchestra. He has chosen music 6 of his film scores released between 1990 and 1997. As Wolfgang Mohr writes at the beginning of his perceptive notes, "Electric Shadows - a term borrowed from the popular art form of the shadow-show - is the literal translation of the Chinese word for 'film.'" Mohr also explains that Jiping's music "in its tone of voice and choice of instruments, makes no attempt to deny its roots." And that's very evident when listening to this compilation.

The first one has two tracks from TO LIVE, a film which received a Special Prize at the Cannes International Film Festival in France. The music sounds exotic but also quite accessible as well. Mohr tells that the themes were taken from traditional melodies of the popular regional opera in Shaanxi. Jiping uses three Chinese instruments for these themes: the "erh-hu" (two string bowed fiddle), "p'i-p'a" (lute), and "banhu" (string instrument).

The two tracks from SUN BIRD make more use of both Chinese ("bawu" or bamboo flute) and the Western orchestra. A voice repeating the same phrase over and again, with percussion is used for track 3, "Two Trees." In the next track, "Spirit of the Peacock," the music sounds quite impressionistic, which is apparently what was intended. It includes a "sheng" (or 17-pipe mouth organ) and bamboo flute.

For JU DOU, Jiping uses only a few instruments, especially a "xun" (a wind instrument made from clay). This film tells the story of an older, impotent man who mistreats his younger wife and loses her to his adopted nephew. It was nominated for an Oscar as Best Foreign Language Film of 1990. Jiping makes the wind instrument accompany the melodrama with little fanfare except for a few loud drums.

Probably the most Western sounding of the six film scores are the two cues from RED FIRECRACKER, GREEN FIRECRACKER, which Mohr describes as having "the symphonic breadth of composers such as Eric Wolfgang Korngold and Max Steiner." Track 8 has the love theme and is introduced by bamboo flute. The next track has a more robust theme with full orchestra playing against Chinese percussion instruments.

Both FAREWELL, MY CONCUBINE and RAISE THE RED LANTERN are considered to be among the best films to come from China over the past few decades. Both film scores draw on lots of Chinese instruments, including percussion, and combine them with the Western-style orchestra. The percussion instruments are taken from traditional Beijing opera, called "wuchang" (or war scene), and are quite boisterous. RED LANTERN has the most tracks and also features the most use of chorus. It is also probably Jiping's best film score.

All in all, this is an outstanding collection of film music from China's best known composer. The elaborate foldout CD case has color stills from each film, plus a photo of Jiping and actress, Gong Li, star of JU DOU, RAISE THE RED LANTERN, FAREWELL MY CONCUBINE, and TO LIVE. There is also a foldout sheet with notes by executive producer, Wolfgang Mohr, and a helpful chornological list of Jiping's major film scores. Sound is excellent.

An exceptional compilation, especially if you're looking for something out of the ordinary. Highly recommended.

--review by Roger Hall, 12 May 2000.

A few questions & answers with film composer, Zhao Jiping (translated from Chinese) - courtesy of Elizabeth Hinckley from Atlantic Records:

Q: Can you describe the process of scoring a film in China - how do you feel your approach may be similar or different from the American/European process?

A: Normally the director contacts me and we meet to discuss the script, the artistic style of the film, and his creative approach to it. During the filming I try to be present at the sets to get a feeling for the atmosphere of the film. After the editing I sit down with the director and watch the film with him to discuss my ideas for the music, the sound and style as well as the tone color and effects. Then I start to compose the film music. I am not familiar with the procedure in Europe or America but I assume that there are similarities.

Q: What kind of instrumentation do you use?

A: I work with various kinds of instruments/orchestras depending on the topic of the film, for example: For RAISE THE RED LANTERN I composed traditional Chinese music with uniform tone color and style, using a mixture of Suo Na (Chinese wind instruments) and Chinese percussion.

Q: Do you have big budgetary constraints, or problems with temporary tracks like American composers have?

A: In general, the costs for orchestra and soloists are not very high in China, therefore there isn't major budgetary constraints. Every time I am commissioned to write a film score, I get in contact with the producers. They have to accept my way of writing film music (including my ideas about the size of the orchestra or the amount of soloists needed etc.), otherwise I will not take on the job. Obviously I take into consideration the opinions, visions, and ideas of the director. But I want to use my unique musical language, my own way of expressing the themes and atmospheres of the film. That is most important to my art and to me as an artist.

Q: What is your view of American and European film scores?

A: The American film music is technically brilliant. Over the last years, however, the tendency seems to be leaning more towards the conventional and commercial. The European film seems to be much more diverse in its artistis expression.

Editor's Choice - Best of the Month, January 2000

FANTASIA 2000 (Total Time = 60:21). Chicago Symphony Orchestra, conducted by James Levine; and the Philharmonia Orchestra. Pianists: Ralph Grierson, Yefim Bronfman, Gail Niwa, Philip L. Sabransky. Soprano Soloist: Kathleen Battle. Chicago Symphony Chorus. Executive Album Producers: Peter Gelb and Laura Mitgang. Album produced by Jay David Saks.

Recorded and mixed by Shawn Murphy.

Walt Disney CD60023-7.

Rating: ****

Track Titles:

1. Ludwig van Beethoven: Symphony No. 5 (excerpt)(2:51)

2. Ottorino Respighi: Pines of Rome (10:18)

3. George Gershwin: Rhapsody in Blue (12:32) - Ralph Grierson, piano

4. Dmitri Shostakovich: Piano Concerto No. 2, Allegro, Op. 102 (7:22) - Yefim Bronfman, piano

5. Camille Saint-Saens: Carnival of the Animals, Finale (1:54) - Gail Niwa & Philip L. Sabransky, pianists

6. Paul Dukas: The Sorcer's Apprentice (9:33) - Philharmonia Orchestra

7. Sir Edward Elgar: Pomp and Circumstance, Marches #1-4 (6:18) - Kathleen Battle & Chorus

8. Igor Stravinsky: Firebird Suite-1919 Version (9:11)

The first FANTASIA animated feature was released on November 13, 1940. Even though it wasn't a box-office success then, it has since become a Disney classic showcasing some of the finest animation ever done in Hollywood. That first version included these popular classical works: Toccata and Fugue in D minor (J.S. Bach); The Nutcracker Suite (Tchaikovsky); The Sorcerer's Apprentice (Dukas); Rite of Spring (Stravinsky); The Pastoral Symphony (Beethoven); Dance of the Hours (Ponchielli); Night on Bald Mountain (Moussorgsky); Ave Maria (Schubert). The Philadelphia Orchestra was conducted by Leopold Stokowski. This was the first film score to be recorded in stereo sound. It was remastered for the 50th anniversary in 1990.

Now, sixty years later, the FANTASIA 2000 soundtrack has been released. The film is only being shown at IMAX theaters, which makes it more limited in viewing potential. It's not even being shown at all IMAX theaters (in Boston, for example) because of Disney's stiff demands for exclusive showings and big profit share. The film is due for general release later this year. So, this review will be based solely on the soundtrack CD and not the film.

The choice of music (by whom?) is a good one. The only piece carried over from the first FANTASIA is The Sorcerer's Apprentice, because it's so famous for Mickey Mouse and his water carrying brooms. Besides the music, story and animation fit so perfectly together, why not include it? It's a classic bit of Disneyiana.

The performances on FANTASIA 2000 are certainly the best ones around but are all very good. The sound is full and crisp. If you're a picky classical music lover, you won't like the abbreviated versions of Beethoven's 5th Symphony and other works. But the music was meant to accompany the animated film so certain liberties had to be made.

The 16 page booklet has some striking color images from each segment of the film. If you go to a Disney store, you can get the Limited Edition Soundtrack. It has a somewhat awkward foldover plastic cover with some of the film's images on the cover. This numbered Limited Edition has a run of 60,000 copies.

Sure to become a collector's item. Especially recommended for the classical music novice.

--review by Roger Hall

FAREWELL MY CONCUBINE - Great Film Themes From Modern Chinese Cinema (65:34). The City of Prague Philharmonic, conducted by Nic Raine and Mike Townsend. Album Producer: James Fitzpatrick.

Digital Recording and Mixing Engineer: John Luard Timperley.

Editing, Dolby Surround and HDCD Mastering: Gareth Williams.

Album design: Colin Parker.

Silva Screen Records America SSD 1107.

Rating: ***1/2

Track Titles:

1. ONCE UPON A TIME IN CHINA - Main Theme (4:14) - Traditional

2. A CITY OF SADNESS - Main Title (5:20) - Kachikawa Naoki

3. FAREWELL MY CONCUBINE - Bygone Love (4:32) - Lee Tzung Sheng

4. A CHINESE GHOST STORY - Halt the Sunrise (4:44) - Huang Jan

5. THE PUPPET MASTER - Goat Hongs Song (4:26) - Chan Hung Da

6. THE OSMANTHUS ALLEY - Main Title (6:25) - Chen Yang

7. TEMPTRESS MOON - Take for Granted (4:00) - Chen Huan Chang

8. EAT DRINK MAN WOMAN - You Make Me Happy and Sad (4:45) - Ryo Aska

9. RED ROSE, WHITE ROSE - The fragrance of Roses (3:02) - Chen Huan Chang

10. A MOMENT OF ROMANCE - Main Title (3:48) - Lo Ta Yu

11. THE ACTRESS - Burial of Heart (4:54) - Chen Huan Chang

12. MY BEST LOVE - Main Title (5:06) - Lee Tzung Sheng

13. RED DUST - Until the End of the World (2:50) - Lo Ta Yu

14. SWORDSMAN - Blue Sea Laughter (6:45) - Huang Jan

Here's another in the well produced series from Silva Screen. Previously they have done compilations of film composers (Goldsmith, Herrmann, Williams, Jarre, and others); locales (Arthouse Cafe); and specific genres, such as The Wild West. This compilation focuses on modern Chinese scores.

There are 14 films repesented from the decade 1986 to 1996. The film titles are in both Chinese and English. These scores show quite a diversity of styles, with themes by such Chinese composers as: Chen Huan Chang (3 scores); Huang Jan (2 scores); and Lo Ta Yu (2 scores).

Many of these themes have a definte Western sound to them. This includes the compilation title track, with saxophone used prominently. Another one is the next track theme from A CHINESE GHOST STORY, which is quite lovely. Others have a more traditional Chinese flavor, including ONCE UPON A TIME IN CHINA (arranged by Nic Raine) and THE OSMANTHUS ALLEY's Main Title.

Once again the art design detracts from the reading of pertinent information about each film on the foldout sleeve. This time it's a garish yellow over orange background, with text printed in black - but it's still hard to read all the text. Why not put the bright color design just on the cover? Then leave the inside one color for easier reading. These are my preferences of course. I believe it would be an improvement over the splashy designs favored by Colin Parker. These are my preferences, of course. With a collection of lesser known film composers like this compilation, it's important to be able to read their names. I had to use a magnifying glass to read them and some I'm still not sure about. But at least the music doesn't need any translations!

Overall, I found this to be a very listenable collection of themes from modern Chinese scores. Sound quality, as usual, is excellent, although tending to be a bit too brash at times. Well worth having, especially if you like to explore the less well traveled areas of film music besides the usual well trod paths of Goldsmith, Williams and all the other Hollywood guys.

--review by Roger Hall, 4 April

FRANK SKINNER & HANS J. SALTER: UNIVERSAL'S CLASSIC SCORES OF MYSTERY AND HORROR$

Total Time = 67:34. Slovak Radio Symphony Orchestra, William T. Stromberg, conductor. Orchestrations by John Morgan and William T. Stromberg. Recorded May 1999 at the Concert Hall of the Slovak Radio in Bratislava. Producer: Milos Betko. Engineer: Hubert Geschwandtner. Editor: Ladislav Krajcovic. Notes: Bill Whitaker.

Marco Polo 8.225124.

Rating: ****

Track Titles:

THE GHOST OF FRANKENSTEIN (1944)(45:13)

1. Universal signature (0:17)

2. Main Title (1:51)

3. Blowing up the Castle (1:48)

4. Freeing the Monster (2:11)

5. Renewed Life (1:31)

6. Frankenstein's Castle (1:00)

7. Arrival at Vasaria (4:20)

8. Erik's Dilemna (0:48)

9. Baron Frankenstein's Diary (1:26)

10. The Monster's Trial (2:11)

11. Elsa's Discovery (2:45)

12. Dr. kettering's Death (4:17)

13. Ygor's Scheme (1:49)

14. Baron Frankenstein's Advice (3:42)

15. A New Brain (1:09)

16. Searching the Castle (2:33)

17. Monster Kidnaps Child/ Monster's Desire (2:11)

18. Brain Transfer (1:30)

19. Mob Psychology (2:37)

20. Monster Talks (2:28)

21. Death of the Unholy Three (1:59)

22. End Cast (0:31)

SON OF DRACULA (1943)

23. Main Title (1:02)

BLACK FRIDAY (1940)

24. Hypnosis (1:49)

MAN MADE MONSTER (1941)

25. Corky (0:56)

26. Electro-Biology (3:50)

SHERLOCK HOLMES AND THE VOICE OF TERROR (1942)(14:29)

27. Main Title (1:01)

28. Limehouse (1:34)

29. Christopher Docks (2:47)

30. Voice of Terror (1:40)

31. The Spider (2:03)

32. No Time to Lose (1:30)

33. March of Hate (1:18)

34. End Title (2:24)

So far the team of conductor, William T. Stromberg, and orchestrator, John Morgan, have compiled scores by Hugo Friedhofer, Bernard Herrmann, Erick Wolfgang Korngold, Alfred Newman, Philip Sainton, Max Steiner, Franz Waxman, Victor Young and the two composers represented on this new CD: Hans J. Salter and Frank Skinner. That's quite a lineup of Golden Age composers! The latest in the series has four scores by Salter and one by Skinner. All of them are from those glorious Universal horror and mystery films in the 1940s. I'll talk about each score separately.

The first and longest score on the CD is GHOST OF FRANKENSTEIN from 1942. This features music by Hans Salter. Bill Whitaker writes in his notes that this is "a remarkable score resounding with lumbering power, sinister intensity and eruptive climaxes - in effect, setting an invigorating tone for all future Universal monster movies." That's certainly true. Portions of this score were used in later Universal monster flicks, especially the Mummy movies. This is a score that just reeks with highly developed skill. After all, Salter's music helped to bring the Universal horror films to life (sorry for that pun!). It certainly was a major element in this Frankenstein film. Universal had decided to film this sequel after the popularity of SON OF FRANKENSTEIN (Boris Karloff's last outing as the monster) and THE WOLF MAN, which Salter worked on with his fellow composer, Frank Skinner.

Just to mention a few of the memorable tracks in GHOST OF FRANKENSTEIN. The Main Title sets the scary mood of the film right away with ominous chords for brass and strings, and concludes with Ygor's theme played on a solo English horn. In the film, Ygor is played by Bela Lugosi and Lon Chaney Jr. plays the monster. Another very flavorful cue is "Arrival at Vasaria" (track 7), with Ygor and the monster arriving in the town where Ludwig Frankenstein (played by Sir Cedric Hardwicke) works. This cue begins with Ygor's motif on English horn and then becomes, as Bill Whitaker writes, "a musical beauty and the beast interplay...for the Frankenstein monster and the little girl Cloestine, enchanting during the brief time it lasts." That's well said and special praise must be paid to Whitaker's wonderful notes. He spends more time with GHOST OF FRANKENSTEIN because it's a score worthy of such extensive discussion.

There are three other scores by Salter which get a much briefer treatment. SON OF DRACULA features only the short Main Title, which is appropriately creepy. For BLACK FRIDAY, there is also only one track featured, "Hypnosis" (which has an opening reminscent of "The Sorcerer's Apprentice"). Salter worked on that score with Charles Henderson and Charles Previn. And there are two tracks from MAN MADE MONSTER. Whitaker claims that "Electro-Biology" (track 26) is "Salter's most rollicking mad laboratory music ever." None of these three scores has the depth or intensity of GHOST OF FRANKENSTEIN, but they are still worth having on this CD.

The other major composer on this compilation is Frank Skinner, a friend and co-worker of Salter at Universal Pictures. Skinner's score for SHERLOCK AND THE VOICE OF TERROR is a very good one for a minor entry in the Holmes series. Like Salter, Frank Skinner manages to convey the mystery involved in the film's story through the music. Just listen to "Voice of Terror" (track 30) and you'll know what it's all about. Or the track which follows,"The Spider," with its downward weblike spirals in the orchestra. This cue was used in a later Sherlock Holmes film, with Salter overseeing the score. As usual with Skinner, he gave his best effort to even such a minor effort as this Sherlock Holmes film.

The 34 page booklet includes Whitaker's excellent notes, plus portraits of both Salter and Skinner, posters from a few of the films, two score excerpts (on page 30), and a candid photo of a smiling Hans Salter on his 96th birthday, with Tony Thomas and John Morgan. This booklet is further proof of the high quality of this series of Marco Polo soundtracks.

I highly recommend this release for all fans of vintage scores by two highly accomplished film composers who worked wonders together. Both provided classic scores for Universal's memorable films of horror and mystery. This CD belongs in any vintage film music lover's collection.

--review by Roger Hall, 20 June 2000.

For more information, go to: www.hnh.com

Editor's Choice - Best of the Month, February 2000

JOHN WILLIAMS GREATEST HITS 1969-1999 (2 CDs). Executive Producer: Laraine Perri. Compilation Engineer: Robert Wolff. Booklet Notes: David Denby. Sony Classical S2K 51333. Rating: ****

Track Titles:

CD One (66:11)

1. "Main Title" from STAR WARS (5:44)

2. "The Flying Theme" from E.T.: THE EXTRA-TERRESTRIAL (3:42)

3. "Main Title" from SUPERMAN (4:25)

4. "Parade of the Slave Children" from INDIANA JONES AND THE TEMPLE OF DOOM: (4:53)

5. "Theme" from SUGARLAND EXPRESS (3:35)

6. "Theme" from JAWS (2:51)

7. BUGLER'S DREAM (Leo Arnaud) and OLYMPIC FANFARE AND THEME (4:28)

8. "Luke and Leia" from RETURN OF THE JEDI (5:02)

9. "Main Title" from THE REIVERS (5:13)

10. "The Imperial March" from THE EMPIRE STRIKES BACK (3:04)

11. "Scherzo for Motorcycle and Orchestra" from INDIANA JONES AND THE LAST CRUSADE (2:48)

12. "Cadillac of the Skies" from EMPIRE OF THE SUN (4:58)

13. "The Raiders' March" from RAIDERS OF THE LOST ARK (5:11)

14. "Suite" from CLOSE ENCOUNTERS OF THE THIRD KIND (9:46)

CD Two (73:46)

1. "Hymn to the Fallen" from SAVING PRIVATE RYAN (6:10)

2. "Theme" from JURASSIC PARK (5:29)

3. "Theme" from SCHINDLER'S LIST (3:32)

4. "Flight to Neverland" from HOOK (4:41)

5. "Seven Years in Tibet" from SEVEN YEARS IN TIBET (7:09)

6. "Prologue" from JFK (4:00)

7. "The Days Between" from STEPMOM (6:27)

8. "March" from 1941 (4:14)

9. "Somewhere in My Memory" from HOME ALONE (4:54)

10. SUMMON THE HEROES (6:14)

11. "Look Down, Lord" from ROSEWOOD (4:12)

12. "Theme" from FAR AND AWAY (5:34)

13. "Theme" from BORN ON THE FOURTH OF JULY (6:20)

14. "Duel of the Fates" from STAR WARS, EPISODE I: THE PHANTOM MENACE (4:14)

If you're a diehard John Williams fan, you might ask - why bother to buy this Greatest Hits collection when you already have most of them? Well, I'm one of those fans who has ALL of them and I still think it's an excellent compilation.

The collection includes just about every great Williams theme from the past 30 years. I would have like to have music from CINDERELLA LIBERTY, THE COWBOYS, and SABRINA, but that's a minor complaint with so much here to enjoy. Not only are there bountiful riches on this compilation but also the track sequence is very well organized, even without being in chornological order.

Disc One starts off with three of most popular Williams soundtrack themes for STAR WARS, E.T. and SUPERMAN. Besides all the familiar themes from the big space and fantasy epics, there are the smaller more intimate themes too. These include the bluesy one from SUGARLAND EXPRESS (featuring harmonica virtuoso, Toots Thielemans), and "Cadillac of the Sun" from EMPIRE OF THE SUN, with inspiring choral voices added to the uplifting theme. But naturally most fans will prefer the big, brassy themes like JAWS, THE EMPIRE STRIKES BACK and RAIDERS OF THE LOST ARK. And they're all on this compilation.

In addition to the most memorable film themes, there are also two selections from the worldwide sporting event: "Olympic Fanfare and Theme" (written for the Los Angeles Olympics in 1984 and now a classic which has been used ever since) - it's introduced by Leo Arnaud's equally memorable "Bugler's Dream" (written for the 1968 Olympics in Grenoble); and "Summon the Heroes" (for the Centennial Celebration of the Modern Olympic Games in Atlanta in 1996). These themes further illustrate the Williams touch, being able to write music of lasting quality.

Which score does John Williams himself perfer? Well, I happen to hear him say years ago while in Boston that if he had to pick just one it would be CLOSE ENCOUNTERS OF THE THIRD KIND. That would be my choice too - it's No. 10 on my list of Top 100 Film Scores of the Century.

The 24 page booklet has very detailed track titles, including dates recorded and all the performers. There is also a good three page summation of his music by David Denby. Also included are some nice publicity photos of Williams himself and with Spielberg and Lucas. The booklet is printed in English, German and French.

Needless to say that this is a super compilation. If you are new to the soundtrack collecting world, by all means get this 2 CD set. It contains the best of the Williams magic over the past thirty years. I highly recommend this compilation for anyone who admires the brilliance of John Williams, our greatest living film composer.

--review by Roger Hall

MOVIE MEMORIES - A Golden Age Revisited (69:32). Nuremberg Symphony Orchestra, conducted by Richard Kaufman. Album produced by Richard Kaufman. Executive Producer: Arthur M. Luther. Recorded at Colosseum Musikstudios, Nuremberg, Germany, 1995.

Recording engineer: Peter Collmann.

Recording supervisor: Wolfgang Konrad.

Notes: Jim Brown.

Cover art: Matthew Joseph Peak.

Varese Sarabande 302 066 124 2.

Rating: ***1/2

Track Titles:

1. GONE WITH THE WIND(Max Steiner): Tara's Theme (3:37)

2. POLTERGEIST & PAPILON (Jerry Goldsmith)(4:33)

3. SPARTACUS (Alex North): Love Theme (3:26)

4. MURDER ON THE ORIENT EXPRESS (Richard Rodney Bennett): Waltz (3:56)

5. THE MAGNIFICENT SEVEN (Elmer Bernstein): Suite (4:51)

6. HIGH NOON (Dimitri Tiomkin): Theme (3:10)

7. CHARADE/ TWO FOR THE ROAD/ MOON RIVER (Henry Mancini): Songs for Audrey (5:59)

8. CASABLANCA (Max Steiner): Suite (6:52)

9. GHOST: Unchanined Melody (Alex North)(4:27)

10. AROUND THE WORLD IN EIGHTY DAYS (Victor Young): Overture (3:19)

11. THE BRIDGE ON THE RIVER KWAI: The Colonel Bogey March (Kenneth Alford)(2:59)

12. OUT OF AFRICA (John Barry): Flying Over Africa (5:30)

13. DOCTOR ZHIVAGO (Maurice Jarre): Prelude and Lara's Theme (6:06)

14. RAIDERS OF THE LOST ARK (John Williams): March and Love Theme (5:17)

15. ONCE UPON A TIME IN THE WEST (Ennio Morricone): The Man With the Harmonica (4:49)

This is another of the seemingly endless compilations of older soundtrack themes. The films cover the years from 1939 (GONE WITH THE WIND) to 1982 (POLTERGEIST). I wouldn't say that the 1980s was part the "Golden Age" as the subtitle of this CD claims. But in any case there is a good sampling of well known themes represented on the compilation CD.

Staring off with the very famous Tara Theme from GWTW, which apparently Steiner had reworked from his score to THEY MADE ME A CRIMINAL, also from 1939. The next track offers main themes from two of Goldsmith's better scores from the 1970s (PAPILLON) and 1980s (POLTERGEIST). The combination of these two themes is something that Goldsmith has done before, as in the "Generals Suite" with PATTON and MACCARTHUR. Then comes one of filmdom's most lush and beautiful love themes by Alex North from SPARTACUS. North is also represnted with the lovely "Unchained Melody" featured in GHOST. Actually North's theme was originally composed in 1955 for the movie, UNCHAINED. Both of the North themes are beautiful examples of Golden Age film scoring and nicely played by the Nuremberg Symphony Orchestra. As with the North theme used in another film, there is also the popular "Colonel Bogey March" by Kenneth J. Alford, used prominently in THE BRIDGE ON THE RIVER KWAI, but the rest of the score actually was composed by Malcolm Arnold. There are probably still moviegoers who hear Alford's Bogey March and think it was composed by Arnold for his Oscar-winning score to BRIDGE on THE RIVER KWAI. There are also other well-known themes from THE MAGNIFICENT SEVEN, HIGH NOON, CASABLANCA, DOCTOR ZHIVAGO, OUT OF AFRICA (one of my favorite Barry themes), RAIDERS OF THE LOST ARK, and ONCE UPON A TIME IN THE WEST.

In addition there are also some unexpected delights. One of these is Richard Rodney Bennett's light and breezy "Waltz" from MURDER ON THE ORIENT EXPRESS from 1974. Another theme that is most welcome is Victor Young's "Overture" from his great score to AROUND THE WORLD IN EIGHTY DAYS. Also there's a lovely trio of Mancini songs in tribute to Audrey Hepburn on track 7, featuring piano and strings.

The chatty and informal notes in the booklet are by Jim Brown of NBC News and the Today Show on US television. The cover art work by Matthew Joseph Peak is very subdued and tasteful. Unlike the garish colors thrown splashed across the pages of recent soundtrack CDs The sound quality is quite good and the Nuremberg Symphony Orchestra plays well under Richard Kaufman's direction.

This type of compilation was done better by Charles Gerhardt, who did the groundbreaking RCA series in the 1970s. There is nothing that quite matches that playing but it's still a good listen for older nostalgic soundtrack enthusiasts. Recommended for those who want to hear examples of many wonderful themes that continue to charm and enchant the ear.

--Roger Hall, 12 May 2000

MOVIE MUSIC - The Definitive Performances (2 CDs). Various Artists. Compilation Producers: Didier C. Deutsch and Steve Berkowitz. Digital Restorations: Matt Cavaluzzo. Essay: Joseph Lanza. Discography and Annotations: Didier C. Deutsch. Columbia/Epic/Legacy J2K 65813. Rating: ***1/2

CD One (Total Time = 77:31) - 24 tracks

CD Two (Total Time = 75:26) - 20 tracks

This compilation might be more accurately called "Movie Songs" since almost all the tracks are devoted to them. Most of the songs are familiar ones and are by the original artists. Are they the "definitive performances"? That's up to the listener. Most folks would think of Gene Kelly's singing of "Singin' in the Rain" not Cliff Edwards from 1929 - even though it's the first recording. This collection is quite varied and covers the years 1929 to 1998 (Aerosmith's "I Don't Want To Miss A Thing" - an awful movie song, IMHO).

Depending on your interest in movie music, you'll appreciate having the movie songs more than the scores. Both CDs have only a few scores. CD One has a brief opening track of music from silent movies (recorded by Charlie Young in 1960); the theme from GIANT (Tiomkin) with the Warner Bros. Orchestra and Chorus; and Overture from WEST SIDE STORY (L. Bernstein). The second CD has The John Dunbar Theme from DANCES WITH WOLVES (Barry); an excerpt from FORREST GUMP (Silvestri); and "Southampton" from TITANIC (Horner).

Of the 21 songs on the first CD, there are some real gems. You can pick the ones you like (if any) from this complete list of songs:

1930s: Al Jolson singing "You Are Too Beautiful" from HALLELUJAH, I'M A BUM; "A Guy Who Takes His Time" - Mae West warbling the song from SHE DONE HIM WRONG; Bing Crosby's classic crooning of "Temptation" from GOING HOLLYWOOD (1933); "Inka Dinka Doo" from JOE PALOOKA (1934) - Jimmy Durante's famous theme song (he was re-discovered thanks to his recordings in SLEEPLESS IN SEATTLE); The Boswell Sisters singing of "Rock and Roll" in TRANSATLANTIC MERRY-GO-ROUND (that was in 1934!); "Lullaby of Broadway" - sung by Dick Powell from GOLD DIGGERS OF 1935; and the Oscar -winning song, "The Way You Look Tonight" from SWING TIME (1936) - sung by the underrated Fred Astaire.

1940s: "A Lovely Way To Spend An Evening" - a lovely song sensitively sung by Frank Sinatra in his film debut, HIGHER AND HIGHER

1950s: Doris Day's singing of the beautiful Oscar-winning song, "Secret Love," from CALAMITY JANE; Judy Garland's classic rendition of "The Man That Got Away" from A STAR IS BORN; "March & Colonel Bogey" from BRIDGE ON THE RIVER KWAI - by Mitch Miller & His Orchestra and Chorus; "An Affair to Remember" - sung by Vic Damone; and "A Certain Smile" sung by Johnny Mathis.

1960s: "My Heart Belongs To Daddy" sung by a sexy-voiced Marilyn Monroe in LET'S MAKE LOVE; "With A Little Bit Of Luck" by Stanley Holloway & Ensemble from MY FAIR LADY; Lulu's singing of "To Sir With Love"; Simon & Garfunkel's ground-breaking song, "Mrs. Robinson"; and "Ballad of Easy Rider" sung by The Byrds.

1970s: Neil Diamond's "Be" from JONATHON LIVINGSTON SEAGULL; and Barbra Streisand singing the Oscar-winning song "The Way We Were."

Then on CD Two are these 17 songs:

1970s: "Suicide is Painless" from M*A*S*H; "Knockin' On Heaven's Door" sung by Bob Dylan in PAT GARRETT & BILLY THE KID; Barbra Streisand's Oscar-winning song, "Evergreen" from A STAR IS BORN.

1980s: Willie Nelson singing his song, "On The Road Again" from HONEYSUCKLE ROSE; Tender Years" by John Cafferty and The Beaver Brown Band from EDDIE AND THE CRUISERS; Kenny Loggins singing "Footloose"; the Oscar-winning song, "Take My Breath Away" from TOP GUN; Harry Connick Jr's singing "It Had To Be You" from WHEN HARRY MET SALLY.

1990s: Pearl Jam singing "State Of Love And Trust" from SINGLES; "When I Fall in Love" sung by Celine Dion and Clive Griffin from SLEEPLESS IN SEATTLE (winner of my SAMMY Award ); Bruce Springsteen's Oscar-winning song, "Streets of Philadelphia"; Michael Jackson singing his song, "Childhood," from FREE WILLY 2; "The Sweetest Thing" by Refugee Camp All-Stars featuring Lauryn Hill; "Men in Black" sung by Will Smith; Diana King's upbeat singing of "I Say A Little Prayer" from MY BEST FRIEND'S WEDDING; "My Heart Will Go On" the Oscar-winning song sung by Celine Dion; and finally, Aerosmith's noisy "I Don't Want To Miss A Thing" from the silly cartoonish flick, ARMAGEDDON.

That's quite a lineup of well-known movie songs, including quite a few Oscar winners. Too bad there aren't more scores mixed in with the songs. The 68 page booklet has many rare photos. The opening essay by Joseph Lanza is well written but limited in scope. Annotations for each track by Didier C. Deutsch give just enough information about the music.

Longtime soundtrack collectors will probably have most of these movie songs and scores. But if you're looking for a nice complement to last year's CINEMA CENTURY Silva Screen collection (see Previous Compilations for review), this 2 CD set should do quite nicely.

This is a very good collection of movie songs. At well over an hour for each CD, this set is an excellent value. And the lower selling price makes it that more appealing.

NEW MUSIC FOR FILMS, VOL. Vol. 2 (Total Time = 47:40). Music composed by Christopher Franke. The Berlin Symphonic Film Orchestra, conducted by Alan Wagner. Recorded and Produced by Edgar Rothermich.

Music Supervisor: Rudy Panke.

Sonic Images SID-4906.

Rating: ***

Track Titles:

1. Opening (3:17) - TARZAN AND THE LOST CITY

2. Morning Ride (2:23) - THE INHERITANCE

3. Attack On The Village (2:40) - TARZAN AND THE LOST CITY

4. Damaged Goods (1:48) - PACIFIC BLUE

5. Jane's Arrival (5:10) - TARZAN AND THE LOST CITY

6. The Dam Breaks (1:05) - TERROR IN THE MALL

7. Broken Dreams (2:55) - PACIFIC BLUE

8. Escape (2:05) - TERROR IN THE MALL

9. A New Friendship (1:40) - TARZAN AND THE LOST CITY

10. The Chase (2:13) - TERROR IN THE MALL

11. Deadly Flight (6:31) - SOLO

12. Near Death (1:38) - PACIFIC BLUE

13. Dance Lesson (1:17) - THE INHERITANCE

14. The Race (4:06) - THE INHERITANCE

15. Flight For Opar (5:10) - TARZAN AND THE LOST CITY

16. Finale (3:32) - SOLO

Berlin born composer, Christopher Franke, has scored over 50 films since 1977. This compilation is from his more recent work in films and television. The tracks are taken from 5 of his film scores: PACIFIC BLUE (USA Cable, 1996); SOLO (Sony, 1996); THE INHERITANCE (CBS TV, 1997); TARZAN AND THE LOST CITY (Warner Bros./Village Roadshow, 1997);and TERROR IN THE MALL (Warner Bros./Universal Film AG, 1998).

The music featured on this compilation is mostly of the too familiar mood setting and action-filled variety. Of the five scores, the music from PACIFIC BLUE sounds the most appealing to this reviewer. There are three tracks (4, 7, 12) from that film, all featuring a woman singer's strong wailing voice (unfortunately not identified), unusual electronic sounds, and the symphonic orchestra as well. While not exactly melodically driven, these tracks do offer some convincing themes.

The score which has the most tracks on this compilation is TARZAN AND THE LOST CITY. The first track, titled "Opening," is rather ordinary sounding. The same goes for the other 4 tracks. This kind of action-adventure writing has been done many times before and been done better by others, such as Jerry Goldsmith and Trevor Jones.

The music from THE INHERITANCE (aka, LOUISA MAY ALCOTT, THE INHERITANCE) is a bit more appealing. There are three tracks from this score. The first one, "Morning Ride," nicely depicts the movement suggested in the track title. Then tracks 13-14 have the other cues, "Dance Lesson" - nice and dreamy; and "The Race" - strongly accented (like Elmer Bernstein's western scores).

To my ears, the weakest score is TERROR IN THE MALL. The three cues just sound too much like fast-paced formula action music.

The 12 page booklet has very attractive design by Doerte Lau and Andreas Adamec, including track titles, small photos of Franke's soundtracks and other album covers, plus a list of his film scores between 1977 and 1999, and his biography on the back page.

If you've been a fan of Christopher Franke's previous scores, then you may wish to pick this one up as well. Otherwise I'd suggest seeking out his other scores, especially those for the TV series, BABYLON 5.

--review by Roger Hall, 12 March

Editor's Choice - Best Compilation CD of the Month

ROY WEBB: CAT PEOPLE - CLASSIC MUSIC FOR THE VAL LEWTON FILMS

Total Time = 69:53. Slovak Radio Symphony Orchestra, William T. Stromberg, conductor. Score reconstructions by John Morgan. Producer: Milos Betko. Engineer: Hubert Geschwandtner. Editor: Ladislav Krajcovic. Notes: Scott MacQueen.

Marco Polo 8.225125

Rating: *****

Track Titles:

CAT PEOPLE (1942)(21:49)

1. Main Title (1:20)

2. Irena (1:55)

3. The Cat People (2:26)

4. Irena and Oliver (2:20)

5. Need for Help (2:49)

6. The Evil Call (1:38)

7. The Aftermath (1:12)

8. Dream Sequence (1:14)

9. Too Late (1:51)

10. Horror Sequence (1:06)

11. Dr. Judd Murdered (1:23)

12. End Title (2:30)

BEDLAM (1946)(6:58)

13. Main Title (2:12)

14. The Quaker (1:51)

15. Nell's Escape (1:07)

16. End Title (1:48)

THE SEVENTH VICTIM (1943)(18:51)

17. Main Title (1:11)

18. Principal's Office (1:50)

19. Mary Sees Jacqueline (3:31)

20. Jacqueline is Found (1:36)

21. Jacqueline (0:57)

22. The Pallidists' Trial (3"04)

23. The Chase (2:24)

24. Desirous of Death (1:42)

25. Love Scene (2:10)

26. End Title (0:25)

THE BODY SNATCHER (1945)(8:31)

27. Main Title (1:38)

28. Edinburgh (1:17), sung by Maria Knapkova

29. The First Body (3:43)

30. Finale (1:56)

I WALKED WITH A ZOMBIE (1943)

31. Main Title (1:38)

32. Chant (1:55), sung by Ondrej Dobo, Stanislav Benacka, Eugen Gaal, Milan Jagelka

33. Fort Holland (0:55)

34. Zombie (3:22)

35. Dr. Maxwell (2:22)

36. End Title (3:23)

Like the Salter and Skinner compilation reviewed previously, this is another excellent release by an overlooked film composer. This one is Roy Webb (1888-1982), who spent his film career working at RKO Radio Pictures. Some of his most memorable scores were composed for famed producer, Val Lewton, who created some of the best horror films of the 1940s. Lewton has long been recognized for his work. It's about time that Webb gets credit for his superb scoring efforts.

The CD opens with the brief RKO signature before moving on to an extended suite from CAT PEOPLE. This is a movie I've loved since first seeing it as a young boy on WOR-TV in New York, a station then owned by RKO. The station had a program called "Million Dollar Movie" and would show one movie for the entire week. I watched CAT PEOPLE every night it was shown. The movie gave me chills. It was so moody and filled with terror without actually showing any monsters. I especially remember Roy Webb's music. It's mostly romantic and dreamy, which seems at odds with the story. It isn't. The dreamy music actually reinforces the fears of Irena (played by kittenish French actress, Simon Simon), who believes she's a cat woman. One of the principal themes hummed by Irena is actually a French nursery rhyme, "Do-do, l'enfant do." This tune is brilliantly incorporated by Webb as part of the underscore. It is first heard in "Irena and Oliver" (track 4) and it's a lovely treatment of the tune. The rest of the score is full of delightful touches. Another example is "Dream Sequence" (track 8), which in just over a minute builds to quite a suspenseful intensity. The next track, "Too Late," is full of longing beauty and may remind some of Bernard Herrmann's music. This score is well worth the twenty minute suite it gets.

The next two scores are for BEDLAM (another favorite of mine) and THE SEVENTH VICTIM. I wish there were more of the BEDLAM score, but what is included makes its point quite handsomely. The Main Title is regal and yet also frightening at the same time. It perfectly evokes the 18th century setting of Bedlam, the infamous English asylum. The other three tracks are equally convincing, especially the lovely "End Title" (track 16).

For THE SEVENTH VICTIM once again we hear the RKO signature, then another majestic Main Title theme - all in just over a minute! The remaining nine tracks of this suite are more melancholy than CAT PEOPLE or BEDLAM but are just as appealing. For example, in "The Pallidists' Trial," eerie effects are created using harp glissandi and low woodwinds. Scott MacQueen describes this track as "weaving a hypnotic atmosphere as the satanists, worshipping Evil but pledged to non-violence, goad the captive Jacqueline [played by Jean brooks] to die by her hand, not theirs." Very chilling music.

The last two scores on the compilation offer two highly atmospheric Webb scores, and are among the best he composed for Val Lewton. THE BODY SNATCHER has become a cult classic film, with its unforgettable surprise ending. The Main Title is another memorable cue, with its "almost unbearably sad Scotish melody" (to use MacQueen's words). The next track has a blind street singer's lament, sung by sweet-voiced soprano, Maria Knapkova. The chilling Finale (track 30) has music featuring what conductor William Stromberg calls "Kong chords" that ends with the Scotish folk tune.

Probably the best of all the Val Lewton films is I WALKED WITH A ZOMBIE, directed by Jacques Tourneur. In a little over one hour this highly charged horror film manages to be very frightening without ever showing anything approaching today's grotesque blood baths. The story is actually sort of a variation on Bronte's Jane Eyre. The young girl is Betsy Connell (played by the attractive actress, Frances Dee), the older man is Paul Holland (Tom Conway), and his half-brother is Wesley Rand (James Ellison). Holland's wife, Jessica (Christine Gordon) is a zombie and she is completely passive, yet at the same time looks absolutely creepy. One of the most effective tracks in this suite is "Chant," expertly sung by 4 basses from Bratislava on the CD. Also very effective is "Zombie" (track 34), with its suspenseful strings and a hint of the Chant theme. Not heard on the CD but used in the film are several songs, including a catchy ballad sung by calypson singer, Sir Lancelot. On the studio cue sheet it has the title, "Holland Calypso Song." For "End Title" the music is peaceful as Wesley and Jessica are found in the sea after drowning together. Once again the memorable Chant theme is heard, first in the orchestra and then sung by the basses, bringing this remarkable score to its inevitable conclusion.

The 34 page booklet has very nice photos of Roy Webb, Boris Karloff, Val Lewton, Simone Simon, Anna Lee, and Darby Jones as the Zombie. There are remarks on Webb and Lewton by former RKO director, Robert Wise, and screenwriter, Curt Siodmak, who describes Webb's music as "intelligent and full of atmosphere." Much of the booklet is taken up with Scott MacQueen's detailed, well executed notes about Roy Webb and his film scores. MacQueen writes as if he has immersed himself completely in these wonderful scores.

The sound quality on this compilation is among the best I've heard in the entire Marco Polo series. It is bright and close miked and the volume sounds just right.

Along with THE EGYPTIAN [Best of the Month for February], this compilation is the best release yet this year from Marco Polo. It illustrates how a forgotten film master's music can be successfully revived and made enjoyable once again.

Special praise goes out to William Stromberg and John Morgan for giving us this memorable music of Roy Webb. Essential for any vintage film score collector's library. A superb release.

--review by Roger Hall, 20 June 2000.

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