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This movement is worth the price of the CD alone. On to Moscow for a ‘Twilight Troika and Romance’ horses trotting through a snowy landscape; sleigh bells a-ringing before bells of a different kind introduce a sweet Romance for piano and violin  \u003ci\u003eà la\u003c\/i\u003e Rachmaninov. In Vienna there is a sparkling and gaily romantic ‘Polytonal Polka and Waltz ‘Wiener Wein’ that sends champagne corks a-poppin’. Finally we land in New York for the Concerto’s glittering, jazzy ‘Broadway Ballet and Finale’. \u003cbr\u003e  \u003cbr\u003e  Perry has drawn together music from three of his scores to form the somewhat less original, less inspired  \u003ci\u003eThe Silent Years: Three Rhapsodies for Piano and Orchestra. \u003c\/i\u003eThe first of these Rhapsodies is on music for the 1927 John Barrymore swashbuckler,  \u003ci\u003eThe Beloved Rogue \u003c\/i\u003ewhich was a film based on the adventures of 15 \u003csup\u003eth\u003c\/sup\u003e century rogue and poet, François Villon. Fanfares announce a swaggering devil-my-care theme for Villon. The suite includes music for court pomp and majesty and the requisite love music - material that Korngold would not have sniffed at -  \u003ci\u003eBlood and Sand\u003c\/i\u003e famously starred Rudolph Valentino and Perry’s score is suitably exotically Latin, including flashing flamenco rhythms and music reminiscent of de Falla, for this Andalucian-based torrid melodrama about the fortunes of bullfighters. The evocative score follows this story of bravery in the bull ring, passion and betrayal and ultimate tragedy. Charlie Chaplin’s  \u003ci\u003eThe Gold Rush \u003c\/i\u003einspired Perry to pen music suggesting labouring with pick and hammer, comic and poignant adventures of prospector Charlie, a New Year’s party dance, Charlie’s shy romancing and his big gold strike. \u003cbr\u003e  \u003cbr\u003e  Perry explains that he sometimes conceives themes that could be used to score film assignments he might yet receive. Accordingly, from such a store of themes, he has drawn together another brilliantly coloured suite of music entitled,  \u003ci\u003eSix Title Themes in Search of a Movie\u003c\/i\u003e. Number one is a Dance Overture for an imaginary film that might conceivably be entitled ‘Wild Nights in Toronto’. It’s wild alright, bright and breezy and jazzy redolent of the roaring twenties with gangsters and their molls. Next we travel to France for a typically Gallic waltz that could grace such a film called ‘Raincoats of Dijon’; the obligatory accordion is featured prominently. Then it is south to Italy for a Serenade for a projected film ‘Angelus for an Angel’. The orchestration calls for wistful use of tubular bells. The fourth theme carries us off to South America and another Perry dream film, ‘The Bridge on the River Plate’. This time he uses stirring quick march music that he had actually composed for a silent film about World War I, What Price Glory; the soldiers must be in a happy mood judging by their whistling! Now comes a Nocturne in jazz blues mode for a film that might be entitled, ‘The Black Marigold’ – possibly a film noire set in a Manhattan night club? The final theme is for an imaginary science fiction film called ‘Voyage to the Dog Star’. This is a glamorous score that reminds one more of those Ziegfeld musicals and Bette Davis tear-jerkers than a sci-fi epic. The music might remind one of the grand Late Romantic piano concertos and there is a grandiloquent solo Siren Song from Irish soprano Helen Kearns as the space craft nears the fiery surface of Sirius. A wonderful way-over-the-top finale. \u003cbr\u003e  \u003cbr\u003e  The RTÉ Orchestra and Paul Phillips play these colourful and melodic works with great enthusiasm and panache and mention must be made of Robert Nowak’s brilliant orchestrations.\u003cbr\u003e  \u003cbr\u003e  Naxos have really gone to town with the documentation for this release. 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