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    CD Reviews - Compilations (Jan- Jun 2002)

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

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Check out this editor's choices for:  Top 10 Soundtracks of the Century 

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

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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.

Some selected soundtracks have these headings above them:

Editor's Choice - Best of the Month

CD Release of Special Merit

June:

CINEMA ITALIANO (Conducted and Arranged by Luis Bacalov)  - ***1/2

May:

WAY OUT WEST - The Essential Western Film Music Collection 2 - ****1/2 [CD of Special Merit]

April:

Previn Conducts Korngold - The Sea Hawk, The Private Lives of Elizabeth and Essex, Captain Blood, The Prince and the Pauper - ***** [Editor's Choice, Best of the Month]

Benjamin Frankel - Music for the Movies - ****

March:

Goldsmith Conducts Goldsmith - ****1/2 [Editor's Choice, Best of the Month]

Movie Adagios - ***1/2

February:

None

January:

Marilyn Monroe-Songs and Dances from the Diamond Collection - ****1/2 [CD of Special Merit]

Now Available!

A Guide to Film Music - Scores and Songs  (2nd edition, PineTree Press, 2002)

This illustrated guide was written by film music historian Roger Hall.  It includes a timeline of film music highlights from 1926 to 2001; a chapter on suggestions for listening to film music; a complete list of Academy Award film music from 1934 to 2000; Top 100 Scores of the 20th Century; and an extensive bibliography and discography.

Throughout the guide are many illustrations of composer autographs, such as Bernard Herrmann, Alex North, Max Steiner and Dimitri Tiomkin; and songwriter autographs as well, including Sammy Cahn, Henry Mancini, Johnny Mercer, Jay Livingston, and others.

The title page of the guide has a rare score page from the end credits of E.T., signed by John Williams.

There is also an accompanying CD-R or Tape available: "Listener's Guide to Film Music."

This film music guide is a limited edition and will be numbered and signed by the author.

To order your copy now, while supply lasts, go to:

Music Titles from PineTree Press

Compilation Reviews - June 2002

Cinema Italiano - A New Interpretation of Italian Film Music

Conducted and arranged by Luis Bacalov.  Produced and mixed by Craig Leon.  Creative Consultant: Andrea Griminelli.  A&R Director: Didier de Cottignies.  Executive Producer: Andrew Cornall.  Recorded in Milan, Rome, London between January 2000 and February 2001.

Decca 289 467 050-2.

Rating: ***1/2

This compilation of themes is a bit different from others in that they are "new interpretations" sung in both Italian and English.  As the project coordinator, respected flautist Andrea Griminelli writes in the CD booklet: "Since my childhood I have felt a very deep love for the soundtracks of Italian movies.  I was struck by Morricone's and Rota's music even before I had any experience of classical music, and I firmly believe that the melodies of these 'milestone' movies have today become part of the Italian classical repertoire."  That's great to hear.  I also believe that Morricone and Rota are among the best Italian film composers of the past.  Griminelli knows his music.  He was the soloist for the premiere of Morricone's Flute Concerto.  But how does this compilation reflect the Cinema Italiano repertoire?  Well, let's see...

The collection includes 14 tracks of familiar themes by Morricone and Rota, but also others like Baclaov, Ortolani and Piovanni.  The guest performers are singers:  Sting, Luciano Pavarotti, Deborah Harry, Fillippa Giordano, and Lucio Dalla.  Many of the selections also feature the project coordinator, Andrea Griminelli, as flute soloist.

The compilation begins with fine renditions of two songs: "My Heart and I" from LA PIOVRA (arr. by Andrea Morricone) sung by Sting, and "Ai giochi addio" from Rota's ROMEO AND JULIET (arr. by Luis Bacalov & Craig Leon) by Luciano Pavarotti.   But then the third track is spoiled by Deborah Harry's weak warbling on "You'll Come To Me" from Rota's AMARCORD, in an overly smaltzy arrangement.   The next two tracks offer two familiar themes featuring the flute playing of Griminelli: "Title Theme" from THE GOOD, THE BAD AND THE UGLY (L. Bacalov on synthesizer), and "Main Theme" from MEDITERRANEO (Cassell Webb, vocal; Craig Leon, synthesizer). Then there is the original theme from CINEMA PARADISO (arr. by A. Morricone), with Leon on the synthesizer, which for me spoils the sound of this delicate melody.  Fortunately, Griminelli takes over on his flute and brings out the full beauty of this gorgeous theme.   

Fillipa Giordano sings with great feeling on the appealing title theme from Ortolani's FRATELLO SOLO, SORELLA LUNA.  But I didn't much care for Piovani's "La vita e bella" as performed the women's chorus, Elysium.  Their singing seemed somewhat shaky and shrill.  But then that was relieved with the classic "Gabriel's Oboe" from Morricone's THE MISSION, but played this time on Griminelli's magic flute.   He brings out all the soaring majesty of this great theme.

Next up comes Lucio Dalla's muttering version of "Malafemina."  His vocal delivery leaves a lot to be desired.  He's certainly an acquired taste.  For me, he sounds like he's drunk.  This is not one of the great interpretations of this popular Italian song.

Then follows themes sung by more convincing Deborah Harry ("When Love Comes By" from Bacalov's Oscar-winning IL POSTINO); "Parla piu piano" from THE GODFATHER (with Bacalov on piano and Griminelli on flute); Marcello's beautiful classical "Concerto for Orchestra" (Love theme from ANONIMO VENEZIANO); and a final orchestral suite of "Fellini Classics" (6:18) which is a bit overcooked in its busy arrangement, including the showy piano playing of Bacalov and a most abrupt ending.

High points of this compilation are the themes by Morricone and Rota as sung by of Sting and Pavarotti, plus the great flute playing of Griminelli.  Low points are the singing of Harry and Dalla and several smaltzy arrangements.

The CD booklet attempts to look cool with its abstract design in red and black printing.  Instead it looks horrible. Besides the text is extremely hard to read and it isn't flattering to any of the performers either.  Overall it's a bad design job.

Comparing the good vs. the bad, I'd say this is a very worthwile compilation.  As Nathaniel Thompson writes in his booklet notes: "So sit back and listen, but be prepared to laugh, cry, and most of all, to fall deeply, madly, and hopelessly in love with bella Italia."

This compilation would make a great accompaniment to a romantic evening or just one for relaxation.  To Andrea Griminelli, whose idea it was to put this Itialian movie collection together, I send along my Grazie! 

Worth a listen.

--Roger Hall, 4 June 2002

Compilation Reviews - May 2002

CD Release of Special Merit

Way Out West - The Essential Western Film Music Collection 2

2 CDs

Disc One = 19 Tracks, 72:16

Disc Two = 19 Tracks, 67:52

Produced by James Fitzpatrick.  Executive Producer: Reynold da Silva.  Associate Producer: Rickie Clark. Release Co-ordination: David Stoner.  

The City of Prague Philharmonic Orchestra, conducted by Nic Raine, Paul Bateman, Derek Wadsworth, Kenneth Alwyn.  The Philharmonia Orchestra, conducted by Tony Bremner (CD 1, track 3).  Crouch End Festival Chorus, David Temple, choir master.  Chief Digital Recording Engineer: John Luard Timperley.  Assistant Engineer: Jan Holzner.  Art Direction and Design: Sean Mowie.  Orchestra recorded at Smecky Studios, Prague.  Chorus recorded at Sony Music Studios, London. Choir Recording Engineer: Mike Ross-Trevor.

Silva Screen SSD 1136

Rating: ****1/2

This is the followup 2-CD set to THE WILD WEST (SSD 1099, 1999). I believe this second volume is even better than the first one.  This time there are more vocal selections, both for soloists and chorus.  There are three stellar soloists: soprano Charlotte Kinder (A FISTFUL OF DYNAMITE and THE ECSTACY OF GOLD); baritone Jason Howard (BLAZING SADDLES, GUNFIGHT AT THE O.K. CORRAL, HIGH NOON, and RIO BRAVO); and baritone Keith Ferreira ("Raindrops Keep Fallin' On My Head").

The choral tracks are performed by the highly proficient Crouch End Festival Chorus, under David Temple's direction (THE HALLELUJAH TRAIL; THE GREEN LEAVES OF SUMMER; BLAZING SADDLES; A FISTFUL OF DYNAMITE; FOR A FEW DOLLARS MORE; GIANT; THE GOOD, THE BAD AND THE UGLY; THE ECSTACY OF GOLD; GUNFIGHT AT THE O.K. CORRAL; HOW THE WEST WAS WON).  

As usual with these Silva sets, the resident orchestra is The City of Prague Philharmonic Orchestra.  The musicians have become more dependable with their film music performances.  Their main conductor is the ever reliable Nic Raine.  The other conductors also perform their duties quite well.

There are far too many tracks to discuss so I'll just say this is a very enjoyable collection of memorable western themes and songs.  Among the many composers featured on both discs are these three film music giants: Elmer Bernstein, Ennio Morricone, and Dimitri Tiomkin.  Naturally the performances on the 2-CDs are not the same as the original soundtracks. Who can really duplicate what Bernstein, Morricone and Tiomkin managed to do in their recordings?  Of the three composers, the one that comes off least best is Morricone.  For example the Main Theme from FOR A FEW DOLLARS MORE (CD 1, track 12), which sounds a bit sluggish.  But the excellent Dolby Surround (HDCD) more than makes up for the minor deficiencies of interpretation.  There's even some extra sound effects, such as the gun shots heard in the Suite from GUNFIGHT AT THE O.K. CORRAL.

The very attractive CD cover art painting is by Gary Carter and the inside pages are well designed and have easy to read text, courtesy of Sean Mowie.

If you're a western fan, then you'll probably really enjoy this diverse collection of music from 36 western films.

This is a great collection of memorable western film themes and songs.  Highly recommended.

--Roger Hall, 30 April 2002

Compilation Reviews - April 2002

Editor's Choice - Best of the Month

Previn Conducts Korngold: Music from the Films

31 Tracks, 67:59

The London Symphony Orchestra, conducted by Andre Previn. Scores reconstructed and assembled by Patrick Russ.  Executive Producers: Nigel Boon, Sid McLauchlan.  Balance Engineer: Ulrich Vette. Recording Engineer: Richard Lancaster. Editing: Mark Buecker.  Recording: Abbey Road Studios, London, July 2001. Recorded, edited and mastered by Emil Berliner Studios.  Notes by Andre Previn and Brendan G. Carroll. Cover design by Fred Munzmaier.

Deutsche Grammophon 289 471 347-2

Rating: *****

What a pleasure to hear Korngold's marvelous film scores once again!  It's also a pleasure to hear them performed by such a prestigious orchestra, conducted by Andre Previn, who spent many years working in Hollywood, although at the rival studio of M-G-M.  Korngold spent his Hollywood years working at Warner Bros.

This compilation offers more music than the two great LP recordings of Korngold's film music made by Charles Gerhardt conducting the National Philharmonic Orchestra in the 1970s for RCA Victor (now BMG).   I still believe the Gerhardt LP film music recordings are among the best of the analog era.  They were not well served when transferred to CD in Dolby Surround.  

Several of the Korngold scores have received a more complete score treatment, such as THE PRIVATE LIVES OF ELIZABETH AND ESSEX (Bay Cities and Varese Sarabande) and THE SEA HAWK (Varese Sarabande).  Since it's not fair to make comparisons of full scores vs. suites, I'll skip them and only concentrate on the Previn collection.

On this CD, there are suites from four classic Korngold film scores:  THE SEA HAWK (1940)(tracks 1-9, 17:17); THE PRIVATE LIVES OF ELIZABETH AND ESSEX (1939) (tracks 10-17, 14:10); CAPTAIN BLOOD (1935) (tracks 18-22, 13:59); THE PRINCE AND THE PAUPER (1937) (tracks 23-31, 22:25).  These Korngold scores were orchestrated by Hugo Friedhofer, Milan Roder and several others.  This year marks the centennial of Friedhofer's birth and I have chosen him for the Lifetime Achievement Sammy Award.  So it is appropriate to have this excellent collection of his work available.  For this compilation, the scores were reconstructed and assembled by Patric Russ.

Each of the four film scores open with distinctive Main Title music.  Of the four, probably CAPTAIN BLOOD and THE SEA HAWK are the best known.  

CAPTAIN BLOOD is the more historic because it was Korngold's first completely original film score and also it marked the first starring role for Errol Flynn.  The opening Main Title music is broad and brassy and immediately sets the locale for this adventure film.  As Korngold's biographer, Brendan G. Carroll,  tells it in the CD booklet:  "Extra brass proclaim typical Korngoldian fanfares while the soaring string melody allows orchestra and audiences literally to 'set sail' together." True enough, but Carroll makes too many boastful statements about Korngold's place in film music history.  For example, when writing about CAPTAIN BLOOD, he writes:  "Here are the seeds of what would become the standard language and rhetoric of film music - the genre literally came of age with this film."  That is grossly inaccurate.  It is now generally agreed that Korngold's fellow Austrian composer, Max Steiner, deserves the honor as pioneer for such groundbreaking scores as KING KONG and THE INFORMER, while he was at RKO.  But certainly Steiner and Korngold were two of the great musical giants in Hollywood during the 1930's and '40s, and both worked at Warner Bros.  

After you listen to the Main Title of each score on the Previn compilation, pay close attention to the softer passages, which are very much in the operatic tradition that Korngold worked in while a wunderkind in Vienna.   For example, the highly romantic string theme in "Reunion" from THE SEA HAWK.  Or the woodwinds sounding somewhat Impressionistic in the mysterious cue for "Sold Into Slavery" from CAPTAIN BLOOD.  

I could go on about the quality of Korngold's film scores, but  I'll resist the temptation.  If you're a serious film music collector, you'll want to add this CD to your sound library.  If you haven't heard these Korngold scores yet, here's your chance to listen to superb music by one of the Golden Age greats.

They may not be complete scores but what's on this CD is of the highest quality all around.  Korngold's film music is well crafted and highly memorable.  As Previn wrote in the CD booklet:  "The great yearning melodies and the seductiveness of his orchestration are hard to resist.  His Austrian background was just as evident in his movie work as in his operas...His music is invariable a pleasure to play and to listen to, especially when it's unencumbered by actors speaking dialogue."  

Once again I'll say it - it's such a pleasure to hear Korngold's film scores again!  The London Symphony Orchestra under Andre Previn's expert direction responds with firmness in the brass and lushness in the strings.  The sound is also excellent.  Cover design and artwork is very appealing and the notes are easy to read.

You should hear what glorious music can be composed by a great composer from Hollywood's Golden Age. If you get this DG Korngold collection, you'll surely find out.  

Highest recommendation. 

--Roger Hall, 2 April 2002

Another Review...

Rating: *****

It has been a long time, too long, since there has been a good release of Korngold's music. His "Violin Concerto" is finally receiving numerous recordings, and some of the additional symphonic music has crept into more mainstream releases. Now Deutsche Grammophon has released one of the best performances and recordings of Korngold's film music in many years by the consummate musician and conductor, Andre Previn. Performed by the London Symphony Orchestra, Korngold's music sounds exquisite. This is the very best of the scores represented: THE SEA HAWK, THE PRIVATE LIVES OF ELIZABETH AND ESSEX, CAPTAIN BLOOD, and THE PRINCE AND THE PAUPER.

The performances throughout are impeccable with some occasional high string passages giving the LSO a run for its money. Most film music fans may have long ago completed their collections. This new recording is a worthy addition. It makes a worth companion to a release on Koch that featured conductor James Sedares (including mostly other music). CAPTAIN BLOOD has always been a personal favorite and the opening of "Meeting on the Ocean" is so completely beautiful that your heart melts. The selections from THE SEA HAWK get your blood pumping from the great start of the disc. Music from ELIZABETH AND ESSEX continues to entrance, and the disc concludes with the even rarer music from THE PRINCE AND THE PAUPER.

The sound here is nothing short of remarkable and it is like hearing this music for the first time. The music is not really in suite form, but the cues due tend to flow together more like a suite. If you have Rhino's Warner Brothers collection, there are many cues duplicated that make for fascinating comparisons. About the only bland thing about this production is the rather bland, cardboard packaging. This will likely replace nothing in the Korngold fan collection, but it will be a CD one returns to frequently. Let us hope that DG continues to explore other film music. Recordings like this, better packaged, and widely promoted could really give the slumping classical industry a boost, but I doubt it will save the too often depleted and dying section at your local music store.

--Steven A. Kennedy, 6 April 2002

Benjamin Frankel - Music for the Movies

23 Tracks, 67:13

Queensland Symphony Orchestra, Werner Andreas Albert, conductor.  Musical reconstruction, adaptions and additional arrangements by E.D. Kennaway.  Recording Producer and Editing: Stephen Snelleman.  Recording Engineer: Gary Yule.  Design:  Lothar Bruweleit.  Recorded at ABC Ferry Road Brisbane, Studio 420, October 31-November 2, 2000.

CPO 999 809-2

Rating: ****

For those not familiar with Benjamin Frankel, he was born in London in 1906 and died in 1973.  From 1934 onwards, he composed over 100 scores for films, television and the theatre.  Among his best known British films are:  MINE OWN EXECUTIONER (1947) and THE MAN IN THE WHITE SUIT (1951) - one of the first films I remember watching and paying attention to the music score.  That delightful film starred Alec Guinness and featured a wonderful theme for a bunch of chemical tubes with a magical liquid that was turned into a miraculous white suit.  I've never forgotten that charming film and its equally memorable music by Frankel.

This CD compilation features music from six films:  THE IMPORTANCE OF BEING EARNEST (Track 1, 7:22); CURSE OF THE WEREWOLF (Track 2, 2:15); THE NIGHT OF THE IGUANA (Tracks 3-12, 25:08); TROTTIE TRUE (Tracks 13-18, 13:02); THE YEARS BETWEEN (Track 19, 3:07); FOOTSTEPS IN THE FOG (Tracks 20-23, 14:32).  The films range from 1946 to 1964 and cover a few genres from light comedies (EARNEST and TROTTIE TRUE) to more serious dramas (THE NIGHT OF THE IGUANA and FOOTSTEPS IN THE FOG).  

With the exception of the "Pastorale" from CURSE OF THE WEREWOLF and six of the tracks from THE NIGHT OF THE IGUANA, the remainder of the tracks are premiere recordings.  

The CD opens with a delightful suite from EARNEST (1952), full of frivolity and gaiety.  This continues on the second track with the lovely "Pastorale" from CURSE OF THE WEREWOLF (1961), mentioned in E.D. Kennaway's notes as "being the first 12-tone  serial score for a British feature film." 

The largest number of track timings on the CD is from THE NIGHT OF THE IGUANA (1964) a big MGM film starring Richard Burton, Ava Gardner, and Deborah Kerr.  It was directed by John Huston.  Most of the cues are lightly textured and subdued, as in the luminous "Hannah & Shannon Theme" (track 7, 5:25) with a prominent solo celesta featured. Another example of a subdued cue is "The Iguana is released" (track 11, 3:15), with the strings, woodwinds and a bit of percussion creating a mood of uncertainty.  The next track, "Maxine & Shannon Theme" (1:24) opens with French horns, then brings it to a somber conclusion with a solo trumpet signaling the tender final moments.

After that subtle suite, the mood switches to one of lightness in the suite from TROTTIE TRUE (1949).  This is heard in the first cue, "Gaiety Galop" (2:11).  Then there is the appealing love theme in "Trottie's Romance" (Track 15, 2:11). That is followed by the charmingly casual cue, "The Life and Times of a Gaiety Girl" (3:38).  The suite ends with a light and lively "Trottie True Trot" (2:05).  This film is really like a stage musical about Gaiety Girls and features additional songs not written by Frankel.

Next up is a quiet and reflective "Lullaby" cue from THE YEARS BETWEEN (1946).  As E.D. Kennaway explains in the notes, this theme was originally for a piano solo in the film, played by Eileen Joyce.  Kennaway has arranged the lovely theme for strings and received critical advice from two of Frankel's former pupils: Alan Owen and Buxton Orr.

The CD booklet has extensive notes about the composer, all the films and is in German, English and French.         

A highly enjoyable compilation.  

--Roger Hall, 27 April 2002

Editor's Choice - Best of the Month

Goldsmith Conducts Goldsmith

12 Tracks, 71:06

The Philharmonia Orchestra and National Philharmonic Orchestetra (for LEGEND), conducted by Jerry Goldsmith.

Originally released by Decca Record Co. Ltd., 1989.  Recorded at Walthamstow Assembly Hall, 11 March 1987.  Recording Enginerr: Mike Ross-Trevor.  Mastering: CBS Studios, London.

New Master Producer: James Fitzpatrick.  Release Co-ordinator: David Stoner. Art Direction & Design: Sean Mowie.  Digital Surround Sound & HDCD Mastering: Gareth Williams.

Silva Screen SSD 1135.

Rating: ****1/2

This collection is nearly identical to the Telarc CD, The Film Music of Jerry Goldsmith. Both were conducted by Goldsmith, but the Telarc has more diverse themes and suites from motion pictures and television series.  Yet both collections have their respective merits. For this review I'll be comparing them both but focusing on the Silva Screen compilation.

First, as you can see from the above information, this compilation was originally released in 1989 by Decca Records.  For the new release, the recording has been re-mastered and it sounds terrific, especially the impressive opening suite from THE BLUE MAX, which takes up 5 tracks (16:26).

Following that suite is a medley of television themes (9:47) from THE MAN FROM U.N.C.L.E.; DOCTOR KILDARE; ROOM 222, THE WALTONS, BARNABY JONES.  This medley is also on the Telarc compilation except for the additional theme from STAR TREK: VOYAGER.

After the television medley, there are two highly regarded Goldsmith scores:  MASADA (Main Themes, 5:39) and GREMLINS (Suite, 7:44).  These are not included on the Telarc collection. Both are well worth having if you don't have these soundtracks.

Next is a medley of motion picture themes(14:23): THE SAND PEBBLES; CHINATOWN; A PATCH OF BLUE; POLTERGEIST; PAPILLON; THE WIND AND THE LION. All of these themes are also on the Telarc collection, but that one has two more themes (AIR FORCE ONE and BASIC INSTINCT - which were both composed after the 1989 original Decca release).

On track 10, there is "The Generals Suite," with themes from MACARTHUR and PATTON (5:26).  This popular suite was included on an earlier Goldsmith Silva Screen compilation: THE OMEN - The Essential Jerry Goldsmith Film Music Collection.  The suite was performed by The City of Prague Philharmonic, conducted by Nic Raine.  It's probably no coincidence that the timing is 5:26 - exactly the same as the 1989 Goldsmith version.  The Generals Suite is also on the Telarc compilation, where Goldsmith conducted it slightly faster at 5:11.  If I had to choose among the three recordings, I'd pick this latest compilation of "The Generals Suite." It has the best sound and the performance is excellent. 

After the Generals Suite on the Silva Screen compilation, track 11 has "Robert's Theme" from LIONHEART (4:07), another impressive score and well performed.  

At the end, there's a bonus track of several themes ("Faerie Dance" and "Re-united" - 7:12) from the magical Goldsmith score, LEGEND.  This track includes the vocals and was performed by The National Philharmonic Orchestra.  For me, this lovely Goldsmith score it is far superior to the one by Howard Shore for the recent film with a similar subject, THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING.

The attractively designed (pale blue background is easy on the eyes when reading the notes) Silva Screen booklet includes the original notes from the Decca CD release in 1989 and also a bit about how it all came to be:

"On the 10th March 1987, Jerry Goldsmith conducted The Philharmonic Orchestra in a concert of his music at The Barbican Centre in London. This event marked the first time that the celebrated Hollywood composer had conducted such a concert anywhere...To mark the 15th anniversaryof this important milestone in the composer's career. we have taken the opportunity to re-master the recording in Dolby Surround and HDCD with the addition of a bonus track, a short suite from the 1985 film LEGEND."

It does seem an appropriate time to re-release this 1989 CD using the latest technology. For that reason alone, I can recommend it.

Yet if you're a Jerry Goldsmith fan, it's not just the improved sound you'll want but also the great collection of so many of his greatest themes.  They are all beautifully performed and conducted by the composer in grand fashion.   

I highly recommed getting this compilation.  You're sure to enjoy it.

--Roger Hall, 12 March 2002

For more information, go to:

www.silvascreen.com

Or write to:

info@silvascreen.com

Movie Adagios

2-CDs

Disc One = 17 tracks, 77:54

Disc Two = 16 tracks, 77:27

All previously recorded performances from 1959 to 2000.

Decca 289 468 506-2

Rating: ***1/2

This is mainly a collection of popular classical themes used in films.  It includes such familiar items as Samuel Barber's Adagio for Strings as used in PLATOON;  Rakmaninov's Piano Concerto No. 2 from the 1940's British film, BRIEF ENCOUNTER; and Pachelbel's Canon from ORDINARY PEOPLE.

There are also several themes from film composers.  On Disc One, these themes are: "John Dunbar Theme" from DANCES WITH WOLVES (John Barry); "Gabriel's Oboe" from THE MISSION (Ennio Morricone); and "The heart asks pleasure first" from THE PIANO (Nyman). Disc Two has "Nuovo Cinema Paradiso" (Ennio Morricone); and "We have all the time in the world" from the James Bond film, ON HER MAJESTY'S SECRET SERVICE (John Barry).

Most of the orchestras featured on the two disc set are top notch.  They include: Academy of St. Martin-in-the Fields, conducted by Neville Marriner; London Symphony Orchestra, conducted by Colin Davis; Hollywood Bowl Orchestra, condcuted by John Maurceri; and Chicago Symphony Orchestra, conducted by Sir Georg Solti. Among the piano soloists are: Radu Lupu (Mozart's Piano Concerto No. 21, Andante movement); Cristina Ortiz (Addinsell's Warsaw Concerto); and Vladimir Ashkenazy (Beethoven's Moonlight Sonata and Emperor Concerto).  As for the opera singers, they include:  Renee Fleming (Arias from La Wally and from Madama Butterfly); Kiri Te Kanawa and Lucia Popp (The Marriage of Figaro).

This compilation may not appeal so much to film music collectors who already have the movie themes.  For classical music lovers, this is a highly appealing collection of "adagios" from famous and not so famous films.

With well over an hour on each disc, this is a great value. Recommended.

--Roger Hall, 8 March 2002 

Compilation Reviews - January 2002

CD Release of Special Merit

Marilyn Monroe - Songs and Music from The Diamond Collection

Total Time = 72:39

Musical Direction by Alfred Newman.  Album Produced by Nick Redman.  Executive Producer: Robert Townson.  Music Remixed by Brian Risner and Michael McDonald. Soundtrack Executive for 20th Century Fox:  Tom Cavanaugh.  35MM Film Assembly: Ron Fugelsby.  Music Edited and Mastered by Daniel Hersch.  Cover and Package Design:  Matthew Joseph Peak. CD Notes by Julie Kirgo.

Varese Sarabande 302 066 2

Rating: ****1/2

Even though this is mostly a collection of songs from Marilyn Monroe films, there are still several music only tracks.

The collection opens with - what else? - the famous 20th Century Fox Fanfare (0:16), conducted by the composer, Alfred Newman.  The next track has Newman's famous "Street Scene" (5:37), featured as a stereophonic overture for the early CinemaScope picture, HOW TO MARRY A MILLIONAIRE from 1953.  

Of the 20 tracks, 6 of them have music without vocals and the remaining 14 tracks feature songs by Marilyn Monroe and others.  

Actually only 3 songs feature Marilyn singing solo:  the sizzling "Heat Wave" (4:24) and the witty "After You Get What You Want , You Don't Want It" from THERE'S NO BUSINESS LIKE SHOW BUSINESS; and one of Marilyn's best known songs - "Diamonds Are A Girl's Best Friend" from GENTLEMEN PREFER BLONDES.  There are also 3 songs sung by MM and Jane Russell from GPB:  "Two Little Girls From Little Rock" (2 versions); "When Loves Goes Wrong"; and "Bye Bye Baby."  Then there are 6 tracks by other singers, including Jane Russell, Fred Astaire, Ethel Merman and The Four Lads.            

Besides the Fox fanfare and "Street Scene," the other four music only tracks (all by Alfred Newman) are: "Main Title" (3:15), "A Dream" (3:49), and "The Girl Upstairs" (3:47) from THE SEVEN YEAR ITCH; and "Hanley's Theme" (2:55) from HOW TO MARRY A MILLIONAIRE.  These wonderful Newman themes make the CD alone worthwhile.  

As Julie Kirgo writes in her snappy CD notes:  "As important as Alfred Newman's influence was on 'the Fox sound' of this era, it was Lionel Newman who, perhaps, exerted a more particular influence on Marilyn Monroe."  Lionel was the one who coached MM through the long recording sessions.  Kirgo adds: "Newman made Monroe laugh; laughing made her relax, and a relaxed Monroe was capable not only of vocal excellence, but also of interpretative sublet and wit."  Kirgo also points out the album producer Nick Redman and mastering engineer did wonders to restore a deteriorated recording of "Bye Bye Baby."

This is a marvelous example of one of the 20th century icons of show business demonstrating her talent as a singer as well as actress.  Having other singers like Fred Astaire, Ethel Merman, and Jane Russell,  plus the two Newman brothers along for the ride on this CD is just adding more "diamonds" to this outstanding collection.  

This is one of the "gems" of 1950s film musical collections.

I highly recommend it.

--Roger Hall, 7 January 2002 

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