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(July - December 2001)

The reviews are this page are the latest ones for 2001.

They are arranged by month and in alphabetical order.  Scroll down the page to read them.  

If you have any comments or questions, write to:  Film Music Review

Christmas Music Guide:

Are you looking for a nice Christmas gift for a film music lover?  Then check out this book:

Celebrate, Rejoice and Sing! A Guide to Christmas Music in America

The guide also has an accompanying CD-R which includes Christmas film music featured on radio.

You can read more about this guide at:  Music Titles from PineTree Press

Check out this editor's choices for:  Top 100 Soundtracks of the Century 

For the best film composer, soundtracks ,compilations,and record labels see:   Best and Worst of 2000 and 1999

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

Shop for your film music needs at the:   Film Music Store

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Review Rundown::

The titles have been chosen to cover a broad range of new commercial, promotional and vintage soundtracks.  No bootleg CDs are reviewed. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.   

Ratings:

*****   (Superlative - Highest Recommendation)

****1/2 (Outstanding - Highly Recommended) 

 ****     (Exceptional - Especially Worthwhile)  

  ***1/2 (Very Good - Better Than Average)

  ***      (Good - Okay)

   **1/2  (Fair - Nothing Special)

   **      (Mediocre - Barely Passable)

     *      (Poor - Save Your Money)

Each month several soundtracks are selected for Best of the Month and/or Recording of Special Merit.  These soundtracks are chosen on the date of the review, and not necessarily at the end of the month, and are those felt worthy of exceptional merit. The selected soundtracks have these headings above them:

Editor's Choice - Best of the Month

CD Release of Special Merit

CD Reviews (2001)

December:

Music from the Movies - **1/2

November:

STAR WARS: The Sound of Hollywood - **** [Special Merit]

October:

THE FILM MUSIC OF JERRY GOLDSMITH - ****1/2 [Editor's Choice, Best of Month]

GONE WITH THE WIND: THE ESSTENTIAL MAX STEINER FILM MUSIC COLLECTION (2 CDs) - **** [Special Merit]

September:

MAN OF GALILEE: THE ESSENTIAL ALFRED NEWMAN FILM MUSIC COLLECTION (2 CDs) - **** [Special Merit]

SPELLBOUND: Great Film Themes in Original Versions - ***1/2

August:

FILM MUSIC - John Morgan and William Stromberg - ****1/2 [Editor's Choice]

MOVIE CLASSICS - Music from Famous Films - ***1/2

July:

CON PASSIONE - Music by Mark McKenzie - ***** [Editor's Choice]

SHAKESPEARE At The Movies (2 CDs) - ****1/2 [Special Merit]

THE WINGS OF A FILM - The Music of Hans Zimmer - ***1/2

Compilation Reviews - December 2001

Music from the Movies

2 CDs (Disc One - 17 tracks = 80:47/ Disc Two - 17 tracks = 80:18)

Performed by  various singers and orchestras, all previously released.

Deutsche Grammophon Panorama 289 469 256-2

Rating: **1/2

There seems to be a never ending stream CDs released with classical music pieces featured in various films.  On "Music from the Movies" there are 34 tracks on the two CDs from the same number of films.  That's too many to discuss so I'll just mention a few.

On the first disc are lots of familiar classical pieces such as Pietro Mascagni's ultra-romantic "Intermezzo from Cavalleria rusticana" as featured in THE GODFATHER (Part III), played rather coldly by Gothenburg Symphony Orchestra under Neeme Jarvi's direction.  Among the other classical works on Disc One are: Wagner's "Ride of the Valkries" (APOCALYPSE NOW) -  Vocal soloists and Berlin Philharmonic, Herbert Von Karajan; Mozart's "Lacrimosa from the Requiem" (AMADEUS) - Berlin Philharmonic; J.S. Bach's "Largo from Harpsichord Concerto" (HANNAH AND HER SISTERS) - Trevor Pinnock, harpsichord, The English Concert; Puccini's "O mio bambino caro from Gianni Schicchi" (A ROOM WITH A VIEW) - Mirella Freni, soprano; and Tchaikovsky's "Scene No. 10 from Swan Lake" (ANNA KARENINA) - Boston Symphony, Seiji Ozawa, conductor.    

Disc two continues the trend with more so-called "classical chestnuts" like: Richard Strauss's opening to "Also Sprach Zarathustra" (2001: A SPACE ODYSSEY) - Vienna Philharmonic, Lorin Maazel, condcutor; Samuel Barber's "Adagio for Strings" (PLATOON) - Academy of St. Martin-in the-Fields, Neville Marriner, conductor;   and Maurice Ravel's repetitious "Bolero" (10) - Philahormonia Orchestra, Giuseppe Sinopoli. conductor.  

Even though the majority of tracks feature classical works, there are six tracks on the second disc by film composers:  JURASSIC PARK (Main Title) - Hollywood Bowl Orchestra, John Mauceri, conductor; DANCES WITH WOLVES (John Dunbar Theme) - Hollywood Bowl Orchestra; BRAVEHEART (Main Title) - London Symphony Orchestra, Choir of Westminster Abbey, Martin Neary, conductor; THE ENGLISH PATIENT (Main Title) - Academy of St. Martin-in-the-Fields; TITANIC (My Heart Will Go On) - Prague Philharmonic, Nick Ingman, conductor; STAR WARS (The Throne Room & End Title) - Hollywood Bowl Orchestra. Naturally all of these tracks are available on the complete soundtracks and I'd recommend them instead of these film music greatest hits.

Is this compilation worth getting?  I'd say not really, unless you're curious about which classical music pieces were featured in various films.  Most of the performances on the two CDs are adequate but the sound levels are quite low and occasionally shrill, which is surprising for such a distinguished classical label as Deutsche Grammophon.

Recommended only for those who want to listen to older classical music by (mostly) respected orchestras and conductors.  Otherwise this isn't one of the better compilations featuring classical music in films.

--Roger Hall, 4 December 2001    

Compilation Reviews - November 2001

CD Release of Special Merit

STAR WARS: The Sound of Hollywood

18 Tracks (76:04)

Performed by the Hollywood Bowl Orchestra, conducted by John Mauceri.  Gil Shaham, solo violinist.

Philips Eloquence 289 468 161-2

Rating: ****

This is an excellent collection of themes and suites from these 18 films:

STAR WARS (John Williams - Throne Room & Finale, 7:43)

E.T. (J. Williams - The Flying Theme, 4:10)

THE DAY THE EARTH STOOD STILL (Bernard Herrmann - Outer Space, 1:41)

STAR TREK V: THE FINAL FRONTIER (Jerry Goldsmith - Main Theme & March of the Klingons, 4:09)

FORBIDDEN PLANET (Louis and Bebe Barron - Once Around Altair, 1:11)

ALTERED STATES (John Corigliano - Love Theme, 4:05)

2001 - A SPACE ODYSSEY (Alex North - Fanfare, 1:46)

THE WITCHES OF EASTWICK (J. Williams - The Devil's Dance, 4:57)

CINEMA PARADISO (Ennio Morricone - aa. T. Hattori, 7:30)

NOW, VOYAGER (Max Steiner, 4:30)

KING KONG (M. Steiner - Overture, 4:10)

THE ADVENTURES OF ROBIN HOOD (Erich Korngold - Battle, Victory & Epilogue, 3:57)

THE SOUND OF MUSIC (Richard Rodgers - Entr-acte, 6:38)

JURASSIC PARK (J. Williams - Main Title, 3:18)

DANCES WITH WOLVES (John Barry - John Dunbar Theme, 2:27)

BODY HEAT (J. Barry - Main Title, 4:08)

DRACULA (J. Williams - Night Journeys, 5:38)

THE OMEN (J. Goldsmith - Main Title, 3:23) - see Soundtrack reviews for Deluxe Edition

As can be seen from looking over these titles there are certain composers who receive more attention, namely John Williams (5 tracks); John Barry (2 tracks); Jerry Goldsmith (2 tracks); and Max Steiner (2 tracks).  Many of the film themes are familiar ones, such as "The Flying Theme" from E.T. and the Overture to KING KONG.  But others are less readily available, like the "Once Around Altair" from FORBIDDEN PLANET and the "Love Theme" from ALTERED STATES.

Virtuoso classical violinist Gil Shaham is heard as soloist on the suite from CINEMA PARADISO, nicely arranged by T. Hattori.

Since this is a budget release, there are no accompanying notes or film stills.  Only the tracks are listed, on the booklet AND the case - why can't more film music record producers follow this practice?    

The performances by the Hollywood Bowl Orchestra, conducted by John Mauceri, are all top notch.  The sound is crisp and clean and features AMSI (Ambient Surround Imaging).

A recommended release for those who want a handy collection of best known film themes from the 1930s to the 1990s.

--Roger Hall, 30 October 2001

Compilation Reviews - October 2001

Editor's Choice - Best of the Month

THE FILM MUSIC OF JERRY GOLDSMITH

10 Tracks (69:13)

Telarc 80433

Rating: ****1/2

Now having composed scores for over 250 films, Jerry Goldsmith is one of the grand masters on the Hollywood scene. This compilation, containing scores selected by Goldsmith himself, nicely surveys his work both in television and in motion pictures.

The collection opens with the very popular main theme from STAR TREK: THE MOTION PICTURE, which has became as much a signature tune for Goldsmith as the STAR WARS theme is for John Williams.

I'm not usually a fan of medleys but the two on this soundtrack are much better than most.

The first one has themes from eight films: THE SAND PEBBLES, CHINATOWN, AIR FORCE ONE, A PATCH OF BLUE, POLTERGEIST, PAPILLON, BASIC INSTINCT, and THE WIND AND THE LION. This eighteen minute medley has an appealing mixture of heroic and haunting themes, providing ample proof of Goldsmith's expert craftsmanship. The other one is an eleven minute medley with six television themes, including THE MAN FROM U.N.C.L.E., STAR TREK: VOYAGER, and THE WALTONS. These are not all as memorable as the motion picture themes, but they serve the demands of providing short and catchy themes for weekly television programs.

Also on the CD are some lovely themes from THE RUSSIA HOUSE (an underrated beauty of a score), SLEEPING WITH THE ENEMY, RUDY, and FOREVER YOUNG. Then there is the infectious waltz from THE BOYS FROM BRAZIL and the delightfully clever themes from TWILIGHT ZONE:THE MOVIE - all providing further proof of Goldsmith's musical versatility.

The last track has Goldsmith's memorable pairing from two films which he calls, "The Generals." The films are MACARTHUR and PATTON and this final pairing brings a majestic close to this diverse collection of Goldsmith's film music.

Most of these scores have been recorded before but not with an ensemble like the excellent London Symphony Orchestra, who perform the music in grand fashion under Goldsmith's careful direction.

The CD was recorded in DSD (Direct Stream Digital). It  sounded a bit distant on my equipment but will probably sound better on the latest digital whizbox.  

The CD notes by Richard E. Rodda give a very good account of Goldsmith's career.

Hopefully Telarc will release more of this type of compilation, conducted by the film composer himself. Since Goldsmith has composed so much music, it seems that a second volume of his lesser known scores would be in order.

For now, this is an excellent collection of Goldsmith gems.

--Roger Hall, 10 October 2001

[Note: This review was originally written for SOUNDTRACK Magazine.  It has been slightly revised here.]

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

CD Release of Special Merit

GONE WITH THE WIND: THE ESSENTIAL MAX STEINER FILM MUSIC COLLECTION (2001)

DISC ONE: 13 Tracks (60:17)

DISC TWO: 13 Tracks (60:01)

The City of Prague Philharmonic, conducted by Kenneth Alwyn, Paul Bateman and Nic Raine.  The Westminster Philharmonic Orchestra, condcuted by Kenneth Alwyn. Originally Produced by James Fitzpatrick and David Wishart. Original Orchestrations by Hugo Friedhofer and Murray Cutter, except KING KONG (orchestrated by Christopher Palmer), THE SEARCHERS (orchestrated by Neil Richardson), Theme from A SUMMER PLACE (arranged by Percy Faith).  This Compilation Produced by James Fitzpatrick.  Executive Producer: Reynold da Silva.  Release co-ordinator: David Stoner. Art Direction & Design: Sean Mowie.  Sleeve Notes by David Wishart.

Silva Screen America SSD 1132.

Rating: ****

In his concise and well-written CD notes, David Wishart begins with this bold statement:  "Max Steiner is the Father of Film Music.  His ideas, his techniques, his experimentation remain the wellspring from which all subsequent film music has flowed."  If you have any that doubt this is true, you should listen to this excellent compilation of some of Steiner's greatest film scores.

Altogether on the 2 CDs there are 23 Steiner scores ranging from 1933's KING KONG (generally considered the first great movie score) to A DISTANT TRUMPET from 1964.  Among the films featured on this compilation are: adventures (THE FLAME AND THE ARROW; THE TREASURE OF THE SIERRA MADRE), romances (NOW, VOYAGER; CASABLANCA), dramas (THE CAINE MUTINY; THE DARK AT THE TOP OF THE STAIRS), and westerns  (THE HANGING TREE; THE SEARCHERS).  Some of the films have longer suites and others just have their Main Titles or themes.  Let's look at each disc.

The first CD has 13 film score themes or suites.  It begins with the Overture (4:03) from KING KONG.  The Main Titles, Preludes or Overtures include those from: A DISTANT TRUMPET (1964); PARRISH (1960); LIFE WITH FATHER (1947); and THE TREASURE OF THE SIERRA MADRE (1948).  Longer suites are featured from such films as: THE ADVENTURES OF DON JUAN (7:54); THE FLAME AND THE ARROW (8:57); ICE PALACE (10:22); THE HANGING TREE (7:04); and CASABLANCA (5:10) - which starts off with Steiner's Warner Bros. fanfare.

On the other CD are 10 score excerpts.  The first one is the Overture (7:42) to THE ADVENTURES OF MARK TWAIN (1944).  Another Overture (5:43) is included from SERGEANT YORK (1941).  Like the first CD, this one has both Main Titles (SPENCER'S MOUNTAIN - 2:04; MILDRED PIERCE - 2:00; A SUMMER PLACE - 2:07; THE FBI STORY - 1:25) and Suites (THE SEARCHERS - 7:21; THE DARK AT THE TOP OF THE STAIRS - 7:14); JOHNNY BELINDA - 7:42).      

As might be expected with the title, the longest suite is from GONE WITH THE WIND (1939), which closes out the second CD.  There are three separate tracks of excerpts:  Prelude/Tara/ Mammy (6:35); The Fall of the South (2:19); Rhett's Leaving/ Melanie's Dream/ Finale (5:21). These excerpts give a decent amount of highlights from Steiner's monumental score, but I'd recommend getting the more complete score with the National Philharmonic, conducted Charles Gerhardt (BMG/RCA 0452-2 RG).

The performances on this compilation by The City of Prague Philharmonic and The Westminster Philharmonic Orchestra are both highly accomplished and expertly conducted.  Recorded sound is full and bright.  

This 2 CD set makes a nice complement to the other recent release, MAN OF GALILEE, of music by Alfred Newman (see review below).  Both Newman and Steiner were two of filmdom's early masters of film scoring and both deserve to have their music repesented in these double CD collections.  Now we need to have more their scores released in complete versions.

This is yet another outstanding Silva compilation.

Recommended especially to fans of vintage film scores.  It's a real winner.

--Roger Hall, 10 October 2001

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

Compilation Reviews - September 2001

CD Release of Special Merit

MAN OF GALILEE: THE ESSENTIAL ALFRED NEWMAN FILM MUSIC COLLECTION (2001)

DISC ONE: 14 Tracks (57:23)

DISC TWO: 13 Tracks (57:02)

The City of Prague Philharmonic Orchestra, conducted by Paul Bateman, Nic Raine, and Kenneth Alwyn ("Cathy's Theme" only). Art Direction and Design by Sean Mowle.

Silva America SSD 1122.

Rating: ****

For some strange reason, Silva's ability to provide what many film score lovers say they want seems to garnish more ranting than raving. In perusing the various message and discussion boards, I get the distinct impression that "purists," many whom have never heard the actual scores or even seen the films, generally denounce these collections outright. Silva has released some awesome John Barry compilations and full scores. The rest really do depend on your point of view. Personally, I have always enjoyed their compilation discs. The improved HDCD sound comes across especially well in a car where most of my Silva discs are frequently played. In that way I get my film music fix no matter the style, genre, or composer. And after all, should not a label produce CDs that will get played instead of listened to once and then enshrined in one's collection? I play Silva's compilations quite a bit and if you do too then this collection will be for you.

The City of Prague Philharmonic is oft blamed for a lot of things, sometimes justifiably, but when they are dead on the music is really awesome. In this collection they are dead on musically 85%, or more, of the time. And while producer James Fitzpatrick may feel this is a backhanded compliment, I look on these compilations as semi-pops concerts. I am willing to accept some new tempos here and there. When there are ensemble problems, which happens less with each passing release, I sense that they were left in for the interpretation or specific musicality of the performance. It gives the recording a "live" feel that is often missing from recordings these days of any music. And (*gasp*) I have sometimes found that even the original performers seemed to have difficulty with the same passages that can trouble the CPP and others.

That being said, this latest collection of music by Alfred Newman is exquisite in so many ways. If one was to complain it would no doubt be the kind of thing that only the esoteric, or devoted fan who think they know the music inside and out would complain about. So for those of you who just love the music there is no need to hesitate with this collection that offers a little bit of something for everyone.

Silva's track order hints at what would be the ultimate Alfred Newman concert and you get to choose which half goes where. The first disc kicks off with the FOX FANFARE aptly enough and leads into the "Street Scene" music, a studio favorite. I doubt that anyone would expect Nic Raine to beat the original, especially since its recent release on Film Score Monthly's Golden Age collection is so easy to jump to for comparison. But, the ensemble manages to somehow make this piece their own and one is soon caught up in the joy of this music. To those who dislike the tempo variations, it's called "interpretation"! As a "pops" performance it works and is a bit livelier than that which appears in a previous John Mauceri recording with the Hollywood Bowl (on Phillips). The percussion start off somewhat slowly in the fanfare than I am used to hearing, but that does not mean it is not valid. I sense it has more to do with the too ambient acoustic for this brief piece.

The rest of the program on disc one includes about 13 minutes of music from THE DIARY OF ANNE FRANK. The highlight here is really "The First Kiss" which is beautifully performed. The whole suite reminds us that this is another score deserving more recorded attention. ANASTASIA's "Main Theme" and the "Overture" from THE SONG OF BERNADETTE receive fine renditions here. The "Overture" from THE MARK OF ZORRO is also included and has appeared before on other Silva incarnations. The first disc closes with about 27 minutes of music from HOW THE WEST WAS WON, which I believe also appeared in some form on earlier Silva releases. Again, since the "original" soundtrack is easily available, those that loved the score would own that already. The intent here is to provide a broad suite-like overview of the music. And listening with those ears it makes a great close by bringing some diversity and providing a mirror image of Old West Americana to balance the 20th Century jazz style that opened the disc. As it is the extended "Intermezzo" is wonderfully done and the rest of the selections receive fine performances. You can even understand the lyrics of "How the West Was Won," not something always accomplished in chorus with orchestra recordings of any kind.

Disc two opens with one of my personal Newman chestnuts, "Conquest" from CAPTAIN FROM CASTILE. My favorite performance has always been John Williams and the Boston Pops; yet to be reissued on CD. This will do nicely, although there are some string problems in high passages (which appeared in Newman's own recording with the Hollywood Bowl, previously on EMI/Angel). An engineering sleight-of -hand hides this by recessing them further back in the full orchestral picture. With the exception of the oft-recorded "Cathy's Theme" from WUTHERING HEIGHTS, disc two features music rarely appearing on disc or in concert. There is a substantial "Overture" to THE KEYS OF THE KINGDOM. The "Main Title" from NEVADA SMITH turns out to bare some resemblance to that of AIRPORT with its orchestration and rhythmic vitality. One hungers to hear more from this score. There is also almost 11 minutes of music from THE RAZOR'S EDGE all performed wonderfully.

Disc two closes with a "premiere" recording, Ken Darby's adaptation of Newman's two big religious scores into the symphonic cantata, MAN OF GALILEE. It provides an interesting conclusion to this "concert." Shortly after Newman's death, Darby took music from THE ROBE and THE GREATEST STORY EVER TOLD and wove them together into an extended stand-alone concert piece for contralto, baritone, chorus and large orchestra. It receives a fine performance though there are occasional intonation problems at the upper end of the sopranos, but I think that is a compositional problem in some cases. The choir seems to overpower the rest of the ensemble at times belying it's separately recorded track. They even feel as if they are in the front of the orchestra instead of from the back where they are often placed in performance. I just don't think the text is the focal point here for this piece. It does allow you to examine Newman's choral writing, or is it Darby's? The soloists are fine.

Now, we can carp on whether some of the choices are "essential" but a good chunk of them are simply not available anywhere, especially the selections found on disc two. Those that are familiar become the selling points for those vaguely familiar with Newman's music and willing to take a chance on the rest. I think those kinds of people will be overjoyed with what they find as will most listeners. And this makes an excellent companion to the now deleted (?) Gerhardt recording.

The booklet continues in the style of previous Silva compilations with picture title and year of release, chief stars, a very brief synopsis, and occasional musical comment regarding the included excerpt. Texts are included for MAN OF GALILEE. The case design is a new and much improved version over the two-disc cases that open out to the right. This one appears sturdier and easier to use opening to the left like a book.

--Steven A. Kennedy, 19 September 2001

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

SPELLBOUND: Great Film Themes In Original Versions (2000)

17 Tracks (Total Time = 75:10)

Transferred from original 78 rpm records and digitally remastered by Ted Kendall. Production: Gordon Gray.  Notes: David Wishart.  

Memoir Classics CDMOIR 451

Rating: ***1/2

This is a CD compilation for those who love the classic films of the 1940s.  I actually grew up watching such old films on TV so many of these themes are very familiar to me.  Almost all of the films were made in England.  And there are many gems in this collection.  Some of them are conducted by the film composer himself.  For example, track 2 has the famous "Spitfire & Fugue" from THE FIRST OF THE FEW, with the Halle Orchestra conducted by William Walton.  He also conducts another famous score for the Laurence Olivier's classic 1944 film of Shakespeare's HENRY V. There are two cues from that memorable Walton's score:  "Death of Falstaff" (2:37) and "Touch her soft lips and part" (1:47).  

Other well-known themes include: "Cornish Rhapsody" (6:03) from LOVE STORY, with The London Symphony Orchestra conducted by the composer, Hubert Bath.  The piano soloist is Harriet Cohen.  Also, "The Dream of Olwen" (3:43) from WHILE I LIVE.  The composer, Charles Williams conducts his Concert Orchestra and the piano soloist is Arthur Dulay. Then there's the so-called "Warsaw Concerto" (8:03) from DANGEROUS MOONLIGHT by Richard Addinsell.  It really isn't a piano concerto in the strictest classical style.  But the piece was composed for a film and thus wasn't meant to be a concert hall favorite, which it has since become. The piano soloist on the soundtrack CD is Louis Kentner and The London Symphony Orchestra is led by Muir Mathieson.  There is another theme by Addinsell on the CD, a delightful "Prelude" (4:26) from BLITHE SPIRIT.  

On of the most famous themes on this compilation is the "Harry Lime Theme" (2:09) from THE THIRD MAN.  The theme is performed on the zither by the composer, Anton Karas.  This theme became a huge worldwide hit and sold over two million copies.  From the 1948 Oscar winning film score, THE RED SHOES, there is Brian Easdale's "Prelude" (3:53). There are also two 1940s  lesser known themes by Nino Rota:  "The Legend of Green Mountain" (3:21) and "Obsession" (2:57).  Both have Rota's usual classy treatment.

For me, the highlight of the compilation is the the title theme from Miklos Rozsa's Oscar winning score, SPELLBOUND.  The theme (3:50) is performed by the Queens Hall Light Orchestra, conducted by Mathieson.  Even with the less than ideal sound, this is one of Rozsa's most romantic themes and is performed in an appropriately lush manner by the Queens Hall Light Orchestra.  

The CD notes by David Wishart give a very good synopsis of each film featured on the CD compilation.  As might be expected, the biggest flaw in this collection is the poor sound. But remember these recordings were made in the 1940s on 78 rpm records. Ted Kendall has done a remarkable job of digital remastering these old records for today's modern ears.  

This compilation is partcularly valuable for having several of the film composers conduct their own scores and is of more historic interest than many of the re-recordings done over the past decade or so.

Recommended for fans of Golden Age themes who want a bit of nostalgic time travel back to the 1940s.                

--Roger Hall, 5 September 2001

For more information:  www.memoir.demom.co.uk

Editor's Choice - Best of the Month

FILM MUSIC - John Morgan and William Stromberg (2001)

33 Tracks (Total Time = 72:00)

Music Composed and Orchestrated by John Morgan and William Stromberg. Music conducted by William Stromberg.  Executive Producer: Craig Spaulding. Design by Leslie Guinn.

Promotional CD.

Rating: ****1/2

For those few film music lovers who don't know about the great John Morgan-William Stromberg collaboration, they are the ones responsible for so many superb Marco Polo CD restorations of scores by such Golden Age masters as: Herrmann, Korngold, Newman, Steiner, Waxman, Webb, and Young.  Now they finally have a chance to provide some of their own film music composed over the past few years.

This CD is crammed full of goodies from seven films: OTHER VOICES, MUTANT SPECIES, DEMON IN THE BOTTLE, ATOMIC JOURNEY, TRINITY AND BEYOND, THE MEDAL, and NUKES IN SPACE.

Of the 33 tracks on this CD, 16 are by Morgam, 15 are by  Stromberg, and the other 2 are collaborations by both.  There are many highpoints in this compilation.  I'll just name a few that were particularly appealing for me.  The very first track, "Space Race" (Stromberg) is a great opener, a majestic fanfare with terrific orchestral sound.  The second track, "Christmas Island" (Morgan) is darker and more mysterious, including chorus, but it's just as evocative as the opening track.  These first two tracks are reason enough to get this promo CD.  But there is so much more good music.

One of the more Herrmannesque tracks is "Devastation"  (Morgan) with low woodwinds, brass amd strings adding the right touch of bleekness.  Another cue I especially liked is "Other Voices" (Stromberg), a memorable continuous pattern which oddly reminds me a bit of "The Mecha World" by John Williams in his A.I. score.  Naturally such techniques have been used long before by John Adams, Steven Reich, and Philip Glass.  If you want proof that young composers can compose a good memorable theme, then listen to such tracks as "Metamorphosis" (Morgan) or "Perilous Seas" (Stromberg).

The final two tracks give further proof of these great collaborators.  "China Gets the Bomb" (Stromberg) uses an appropriate Chinese sound before switching over to a full blown orchestral treatment of the theme, including a powerful choral and brass statement.  What an impressive track! "Demon in the Bottle" (Morgan)  begins quieter and is also exotic sounding but then also builds into a stronger climactic finish, especially in the brass.      

Included with the promo CD is a foldout with Preface by John Morgan plus biographical sketches of him and William Stromberg.  The foldout has a nice clean design to it and is easy to read. One minor complaint: why not list the films along with the cues on the track list?

This is one of the best produced promo CDs I've heard in a long time.  There's plenty of their music included and both composers should be proud of their achievements thus far. Hopefully, both of them will continue to compose such worthwhile music.  The films repesented on this compilation may not be top attractions but hopefully they will get more mainstram feature films in the future. They certainly have paid their dues! 

You just can't go wrong with anything from the Morgan-Stromberg team.               

I highly recommend this wonderful compilation CD to anyone who values quality film music.

--Roger Hall, 22 August 2001

MOVIE CLASSICS - Music From Famous Films

19 Tracks (Total Time = 75:48)

Philips Eloquence 289 468 157-2

Rating: ***1/2

This is another of the seemingly endless compilations of classical music themes used in films over the years.  This one has themes from 19 different films, beginning with (what else!):

1. Introduction to "Also Sprach Zarathustra" (Richard Strauss) from 2001: A SPACE ODYSSEY.  

Here's a list of the other films and themes:  

2.  Overture to "Le nozze di Figaro" (Mozart) - LAST ACTION HERO

3.  "Questa o quella" from Rigoletto (Verdi) - WALL STREET

4.  Adagio from Clarinet Concerto (Mozart) - OUT OF AFRICA

5.  Polonaise No. 6 "Heroic" (Chopin) - SHINE

6.  "O mio bambino caro" from Gianni Schicchi (Puccini) - A ROOM WITH A VIEW

7.  Moderato from Serenade for Strings (Dvorak) - KOLYA

8.  Scene No. 10 from Swan Lake (Tchaikovsky) - ANNA KARENINA

9.  Vesti la giubba from I Pagliacci (Leoncavallo) - THE UNTOUCHABLES

10. Intermezzo from Cavaliera rusticana (Mascagni) -THE GODFATHER PART III

11. Sabre Dance from Gayaneh (Khachaturian) - PUNCHLINE

12. Lacrimosa from Requiem (Mozart) - AMADEUS

13. Humoresque (Dvorak) - KOLYA

14. Menuett from String Quintet (Boccherini) - THE LADYKILLERS

15. Adagio fro Strings (Barber) - PLATOON

16. Andante from Horn Concerto (Mozart) - JFK

17. Gloria in excelsis deo (Vivaldi) - SHINE

18. March No. 1 from Pomp and Circumstance (Elgar) - A CLOCKWORK ORANGE

19. O Fortuna from Carmina Burana (Orff) - EXCALIBUR

It's good to see that "O Fortuna" is not credited to GLORY, which is incorrect.  The films repesented include those from England, Europe and the U.S.

The performances range from 1959 (track 17 - Margaret Marshall, soprano soloist) to 1996 (track 6 - Syvlia McNair, soprano soloist).  Among the orchesrtas featured are: Boston Symphony (track 1); Hollywood Bowl (track 6); Academy of St. Martin-in-the-Fields (tracks 12, 15, 16); London Symphony (tracks 4, 8); and Royal Concertgebouw (track 18).

Do you really need such a compilation?  Well that depends on your taste in music.  If you're a beginner to classical music, then this collection would make an ideal choice.  On the other hand, if you're a longtime classical music buyer, then this compilation will not be necessary unless you want different interpretations of these themes and arias.

Full performance information is given with each track title.    

A good selection of classical music used in films.

--Roger Hall, 22 August 2001

Compilation Reviews - July 2001

Editor's Choice - Best of the Month

CON PASSIONE (2001) - Music by Mark McKenzie

17 Tracks (Total Time = 68:35)

THE SUITES [48:19]

1.  The Disappearance of Garcia Lorca (8:34)

2.  Dragonheart: A New Beginning (4:10)

3.  Durango (6:57)

4.  Down Periscope (2:22)

5.  The Lost Child (5:31)

6.  Dr. Jekyll and Ms. Hyde Overture (6:07)

7.  My Family/ Mi Familia (5:30)

8.  Frank and Jesse (5:24)

9.  Civil War Montage (3:44)

MY FAMILY/MI FAMILIA

10.  My Family/Mi Familia Main Titles (2:25)

11.  The River (2:50)

12.  Train Deportation (1:21)

13.  Chucho's Nightmare (1:47)

14.  I Know You (0:46)

15.  The Owl/ No One Really Cares (1:42)

16.  God Has Been Good To Us (1:41)

THE LION AND THE MOUSE

17.  Narration:  Megin McKenzie (7:15)

Promotional CD (Produced for the composer by Intrada)

Rating: *****

I have reviewed two soundtracks so far by Mark McKenzie:  DURANGO (Best of the Month, August 1999) and THE LOST CHILD (review in Soundtrack magazine, Spring 2001).  Both soundtracks I found to be of very high quality.  And this excellent compilation proves it even more.    

This is one of the best compilations I've heard this year.  Every cue on every track has something worthwhile to hear.  The opening suites (tracks 1-9) are all  disntinctive examples of Mark McKenzie's gift as superb melodist.  Take for example the first suite from THE DISAPPEARANCE OF GARCIA LORCA. It's one of the best on the entire CD - highly exotic and romantic. [Note: My CD-ROM player has it timed at 7:49 instead of 8:34 as listed on the jewel case. In fact, all the other tracks are longer on my player than on the case.  Not a problem, just thought I'd mention it.]  The opening theme is a beautiful and memorable one for solo piano and orchestra. It also features fine Andalucian singing by Manolo Segura. The next suite is from DRAGONHEART: A NEW BEGINNING.  This is also has a very memorable theme and compares very favorably with Randy Edelman's music from the original DRAGONHEART.  Other suites I especially liked are:  DURANGO (with a beautiful main theme), THE LOST CHILD, DR. JEKYLL AND MS. HYDE, and FRANK AND JESSE.

Following the suites, there are seven selections from MY FAMILY/ MI FAMILIA.  This is a very fine score for a film directed by Gregory Nava, who is quoted in the CD insert as stating: "His music brings suspense. excitement and tenderness to scenes such as 'The River' in MY FAMILY/MI FAMILIA."  "The River" turns out to be the highlight of the selections from the film. It's a powerful cue using folk instruments and orchestra to create a forceful flow as in the river itself.  

The last track has a delightful piece demonstrating the insturments of the orchestra. McKenzie composed it for the 50th anniversary of the music school at The University of Wisconsin-Eau Claire.  The narration is well read in straightforward fashion by his young daughter, Megan.

In appreciation of his music, there are highly complimentary statements from all the directors whose films are repesented on this CD compilation. Each one offers words of praise.  For example, Karen Arthur, director of THE LOST CHILD, states: "Mark's score is epic yet intimate, surrounding and supporting the vistas as it infuses the characters and the story with deep emotion."  

This is a compilation that warrants repeated listenings.  It has warmth and depth and much variety.  Everything you might want in such a diverse collection from this very talented film composer.  Sound quality is superb - crisp and clean.  

Based on this wonderful compilation, I'd say he's one of the better young composers on the film scene today.

Keep your ears open to this fine young composer!  I'm sure we'll hear more good scores from him as times goes on. 

--Roger Hall, 5 July 2001  

For more information about this compilation, go to:  www.markmckenzie.org    

CD Release of Special Merit

SHAKESPEARE At The Movies (2 CDs)

Disc One (Total Time = 70:55 )

1.  "I'll tell thee a tale" from TWELFTH NIGHT (Shaun Davey, 1998) - Ben Kinglsey (0:54)

2-7.  HENRY V (William Walton, 1944) - Suite (21:13)     

8-9.  HAMLET  (Dimitri Shostakovich, 1964)(6:00)

10.  "To be or not to be"from HAMLET - spoken by Derek Jacobi (2:57)

11.  "Sweets to the sweet farewell" from HAMLET (Patrick Doyle, 1998)(5:14)

12-13.  MUCH ADO ABOUT NOTHING (Patrick Doyle, 1997)(9:44)

14.  "I dreamt there was an emperor Anthony" from ANTHONY AND CLEOPATRA - Jenny Agutter and Bruce McGregor (1:29)

15.  ANTHONY AND CLEOPATRA (John Scott, 1972) - suite (6:41)

16-17.  JULIUS CAESAR (Michael J. Lewis, 1969)(7:43)

18. "Friends Romans countrymen lend me your ears" from JULIUS CAESAR - spoken by Derek Jacobi (2:36)

19.  "Caesar now be still/Finale" from JULIUS CAESAR (Miklos Rosza) (6:24)

DISC TWO (Total Time = 70:77)

1.  "Good morrow, Kate" from THE TAMING OF THE SHREW - Derek Jacobi and Jenny Agutter (1:04)

2.   THE TAMING OF THE SHREW - Overture (Nino Rota, 1969)(4:20)

3.   "Now is the winter of our discontent" from RICHARD III - Derek Jacobi (2:53)

4.   RICHARD III - Prelude (William Walton, 1955)(6:45)

5.   ROMEO + JULIET - The Balcony Scene (Craig Armstrong, 1996)(5:37)

6.   "But soft, what light through yonder window breaks?" from ROMEO AND JULIET - Ioan Gruffudd and Jenny Agutter (2:43)

7.   ROMEO AND JULIET - Suite (Nino Rota, 1968)(7:41)

8.   LOVE'S LABOUR'S LOST (Patrick Doyle, 2000)(5:30)

9.   "If we shadows have offended" from A MIDSUMMER'S NIGHT DREAM - Jenny Agutter (0:42)

10.  A MIDSUMMER'S NIGHT DREAM (1999)  - Intermezzo from Cavalleria  Rusticana by Pietro Mascagni (3:20)

11.  SHAKESPEARE IN LOVE - Suite (Stephen Warbeck, 1999)(7:15)

12-15.  HENRY V - Suite (Patrick Doyle, 1989)(15:34)

16.  "If music be the food of love" from TWELFTH NIGHT - Derek Jacobi (1:08)

17.  "The wind and the rain" from TWELFTH NIGHT (Shaun Davey, 1998) - Ben Kingsley (5:41)

The City of Prague Philhamonic; Crouch End Festival Chorus, David Temple, Choir Master.  Conductors: Paul Bateman, Kenneth Alywyn, Nic Raine. Produced by James Fitzpatrick.  Executive Producer: Reynold da Silva.  Associate Producers: Rickie Clark, Nic Raine, and Paul Bateman. Chief Digital Recording Engineer: John Luard Timperley.     Spoken Word Consultant: Bruce McGregor.  Album Design: Sean Mowle.  Release Coordinator: David Stoner.  Sleeve Notes: David Wishart.

Silca Screen SILKD 6024

Rating: ****1/2

As you can see from the track listings above, this is quite a large collection of spoken and music selections from Shakespeare films. They are very well chosen selections too.  I'm not going to attempt to discuss them all.  I'll just mention a few general listening observations.

First off, as with most Silva Screen compilations, many selections are re-issues.  Several tracks are from the earlier Cinema Choral Classics I and II, and Cinema's Classic Romances.

I thought that just about every track on SHAKESPEARE At The Movies had something worthwhile to offer. For me, the best selections were those by Patrick Doyle, Nino Rota, Miklos Rosza, Dimtri Shostakovich and William Walton.  The others were also quite listenable by Craig Armstrong, Michael J. Lewis, John Scott and Stephen Warbeck (the suite is better than the original soundtrack). The two songs by Shaun Davey used in TWELFTH NIGHT are both written in ballad style and effectively sung by Ben Kinglsley, who I didn't know could be as good a singer as an actor.

Disc One is the better of the two CDs because of  three film scores: Walton's HENRY V (perhaps the best score for any Shakespeare film), Shostokovich's HAMLET, and Doyle's MUCH ADO ABOUT NOTHING (three wonderful cues: Overture, Goddess of the Night, Strike Up, Pipers).  

The other disc has some as well - Rota's TAMING OF THE SHREW and ROMEO AND JULIET; Doyle's LOVE'S LABOUR'S LOST and HENRY V; Armstrong's ROMEO + JULIET, and Walton's RICHARD III.  Do we really need to have Mascagni's gorgeous but overexposed Cavalleria Rusticana again (CD 2, track 10)?  It's included on far too many soundtrack CDs.  

Performances by The City of Prague Philharmonic and Crouch End Festival Chorus are each top notch, under the various conductors.  Sound quality is excellent as usual with most Silva Screen compilation releases. 

The spoken passages from Shakespeare's plays are all well chosen, including many of the best known ones, and thankfully they are on separate tracks from the music.

The CD notes, by the always reliable David Wishart, are arranged in the same sequence as the two CDs.  I have been very critical of past Silva Screen album designs.  This time, I was pleasantly surprised how well it looked - like pages of old parchment.  Bravo to the album design, Sean Mowle!   

This 2 CD collection would make an ideal introduction to students in schools, and also to adults who are somewhat put off by ye old language used by Shakespeare.  The music should help to make the spoken passges less of a problem to those who have yet to appreciate Shakespeare. What a glorious tradition they're missing!

Whether or not you're a Shakespeare fan, you should derive much pleasure from this 2 CD collection of spoken passages and music.

With well over an hour on each CD, SHAKESPEARE At The Movies is an outstanding value.

As Derek Jacobi speaks it: "If music be the food of love, play on!"  Yes, and here's the compilation to "play on."  

--Roger Hall, 6 July 2001

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

THE WINGS OF A FILM - The Music of Hans Zimmer

12 Tracks (Total Time =  71:45)

1.  GLADIATOR - Now We Are Free (5:13) - Hans Zimmer, Lisa Gerrard, Klaus Badelt

2.  GLADIATOR - Am I Not Merciful (6:46)

3.  DRIVING MISS DAISY - Driving (5:40)

4.  THELMA & LOUISE - Thunderbird (7:46)

5.  THE THIN RED LINE - Journey to the Line (9:53)

6.  MISSION: IMPOSSIBLE 2 - Nyah and Ethan (6:47)

7.  THE LION KING - Lea Halalela (5:59) - Hans Zimmer & Lebo M

8.  POWER OF ONE - Mother Africa (5:46) - Hans Zimmer & Lebo M

9.  NINE MONTHS - Suite (5:13)

10.  RAIN MAN - Main Theme (5:05)

11.  TRUE ROMANCE - Main Theme (3:31)

12.  THE LION KING - Busa (3:59) - Lebo M, Jay Rifkin, Hans Zimmer

Vocals by Lisa Gerrard, Lebo M, Keswa.  Electric Guitar: Pete Haycock. Acoustic Guitar: Heitor Pereira. Eddy Vanoosthuyse, Clarinet. Keyboards & Band Leader: Gavin Greenaway.  Keyboards: Rupert Gregson-Williams, Hans Zimmer.  Vro Flemish Orchestra, Dirk Brosse, conductor.  Choirs: Cantabile, De Tweede Adem, Novecanto, Sangaly.

Concert Produced by The Flanders International Film Festival, Ghent & The Young Music Festival of Flanders, Belgium. Concert Co-Producer: Henning Lohner.

Supervising Recording Engineer: Alan Myserson. Album Produced and Mixed by Alan Myerson. Supervising Orchestration/ Arranger: Bruce Fowler.  Arrangements: Bruce Fowler, Steve Jablonsky, Jimmy Levine, Henning Lohner, Geoff Zanelli.  Orchestrations by Elizabeth Finch, Bruce Fowler, Walter Fowler, Ladd McIntosh, Suzette Moriarty. Supervising Copyist: Booker T. White.

Decca 289 467 749-2

Rating: ***1/2

For those who believe that Hans Zimmer can't function without an army of assisting musicians, this compilation will only add to that assertion.  Just look at the long list of arrangers and orchestrators listed above.  But what is the final result?  This is no glitzy showbiz extravaganza. It's a solid compilation of memorable Zimmer themes from ten of his films - some very good, some...well, let's just say not so good.

Let's start with the good stuff.  The first two tracks from GLADIATOR are every bit as good as the original soundtrack - maybe even better.  "Now We Are Free" features strong earthy singing from Lisa Gerrard, assisted by Tamara Teirbrood.  "Am I Not Free" has very good choral singing as well as the skillful Vro Flemish Orchestra, conducted by Dirk Blosse.  Following that, there's a fine rendition from DRIVING MISS DAISY, with electric guiatar (Haycock), clarinet (Vanoosthuyse) and piano (Zimmer).  Other selections, I thought were standouts include:  "Lea Halalela" from THE LION KING and "Mother Africa" from POWER OF ONE, both sung by Lebo M and Keswa with good choral accompaniment; and the Main Theme from RAIN MAN (Zimmer on keyboards).

I didn't much like the showoff solo by electric guitarist, Pete Haycock, on the THELMA & LOUISE track, which itself is very tiresome to listen to.  Nor do I think that "Journey to the Line" from THE THIN RED LINE is particularly effective with its repetitious underscoring.  The themes from NINE MONTHS and TRUE ROMANCE (touches of Carl Orff's children's music?) are pleasant but also rather bland.  

The final track, "Busa," is highly energetic and brings the concert and CD to a joyous conclusion. Why have two tracks from THE LION KING?  Probably because he won an Oscar for the score and it's one of the most popular Disney animated films.  I also believe it's one of Zimmer's best scores so far and chose it for a Sammy Award in 1994.

The CD foldout is attractively designed, with complimentary remarks by arranger Bruce Fowler, actor Sean Penn, several directors (Chris Columbus, Bruce Beresford, Barry Levinson, John Avildsen, John Woo), and Zimmer himself.  He seems quite humble when he mentions being in "stage terror" of performing in a public concert.  He calls this concert a reunion and directs his praise to his musical friends which he writes: "should really be a tribute to their talent and musicianship."  Well, that may be the way he feels but it's more a tribute to his talent as a film composer.

Even though I don't believe every track on this CD has music of great worth, I still would recommend it to those who only know a few Zimmer scores like GLADIATOR and THE THIN RED LINE.  The recording itself is well done and the sound is top notch.

Give it a listen.  You might better appreciate Zimmer's skills as a major film composer.

--Roger Hall, 6 July 2001

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

4 December 2001  

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