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'  � Recorded at the Mosfilm Studio, Moscow, 4-7 April 2000 by  the Moscow Symphony Orchestra conducted by William  Stromberg.   � The score restorations were realized by John W. Morgan,  who, with Mr. Stromberg amongst others has, since the  early 90s, worked in reconstructing and re-recording the  great symphonic film scores composed during Hollywood's  Golden Age of the mid 30s to the late 50s.","brand":"Naxos","offers":[{"title":"CD","offer_id":46013024174314,"sku":"747313336678","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2849726.jpg?v=1778302958"},{"product_id":"the-film-music-of-stanley-black-wordsworth-242996","title":"The Film Music Of Stanley Black \/ Wordsworth","description":"\u003cp\u003eThis month Chandos Movies, one of the best known film music labels in the industry, turns its spotlight on one of Britain's most prolific film composers. 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Adrian Johnston writes of the Brideshead Revisited recording \"I was thrilled to have an opportunity to work with Chandos - a label whose philosophy I have always liked, and whose CDs of Philip Lane's fine film score reconstruction I have particularly admired. I know that to release a 'non historical' film score was somewhat of a departure for the label, but I hope that Brideshead Revisited can somehow exist as a Chandos product, and perhaps open up the way for future film music collaborations.\" The BBC Philharmonic is conducted by Olivier Award winner Terry Davies who has a wide range of credits in film, theatre and TV including Shakespeare in Love, Becoming Jane, House of Mirth and A Midsummer Night's Dream.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46013219799274,"sku":"095115149928","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1379226.jpg?v=1778324101"},{"product_id":"sounds-of-hollywood-music-from-the-movies-71392","title":"Sounds Of Hollywood: Music From The Movies \/ O.s.t","description":"Import Hybrid-SACD pressing.","brand":"Ars Produktion","offers":[{"title":"SACD","offer_id":46013236117738,"sku":"4260052380437","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1633353.jpg?v=1778333550"},{"product_id":"superheroes-john-morris-russell-cincinnati-pops-250190","title":"Superheroes \/ John Morris  Russell, Cincinnati Pops","description":"\u003cp\u003eSuperheroes!, the latest release from John Morris Russell and the Cincinnati Pops, showcases some of Hollywood’s grandest musical scores from recent blockbusters, such as The Avengers, The Dark Knight, Iron Man 2, X-Men: The Last Stand, Thor, Spider-Man, and Captain America: The First Avenger, and also features themes from television classics including “The Adventures of Superman,” “Wonder Woman,” “The Incredible Hulk,” “Batman,” “Super Friends,” and more. This action-packed collection, with a special appearance by actor Adam West (“Batman,” 1960s), pays tribute to the heroes of our imagination and celebrates the wonderful creativity of Hollywood’s most accomplished and acclaimed composers. Also includes the world premiere of The Launch (Conduktor’s Theme).\u003c\/p\u003e","brand":"Fanfare Cincinnati","offers":[{"title":"CD","offer_id":46013274357994,"sku":"870362000020","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2292359.jpg?v=1778381850"},{"product_id":"frost-friends-encores-martin-frost-240780","title":"Fröst \u0026 Friends: Martin Fröst Plays Encores","description":"\u003cb\u003eThis is a hybrid Super Audio CD playable on both regular and Super Audio CD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e A calendar filled with orchestral concerts and chamber recitals in many of the world’s most prestigious venues has given the clarinettist Martin Fröst ample opportunity to develop a wide range of encores, for every occasion. Known for the imaginatively themed concert programmes he devises with various musician friends, he has also explored a number of musical genres. These aspects of his artistry are both demonstrated on this constantly engaging disc, which includes immortal gems such as Rachmaninov’s Vocalise and Kreisler’s Liebeslied as well as pieces rather less usual in a classical context: Charlie Chaplin’s Smile and the klezmer traditional Let’s Be Happy rubbing shoulders with an improvisation over the Nat King Cole standard Nature Boy. Throughout the programme Fröst receives the expert support of the pianist Roland Pöntinen, a chamber music partner of long standing who has also been involved in devising many of the imaginative arrangements, for instance of Vittorio Monti’s Csárdás. Three other musical companions of Fröst’s make cameo appearances, with mezzo-soprano Malena Ernman joining the clarinet in the head-long flight of not one, but two bumble-bees. Torleif Thedéen’s cello sings a heartfelt Ave Maria above the gyrating accompaniment of Fröst’s clarinet, while Svante Henryson, also a cellist, plays in his own duo piece Off Pist, in which the clarinet and cello chase each other up and down alpine slopes. Martin Fröst’s spectacular career on disc began in 1995, with one of his first CD reviews, in In Tune Magazine, describing him as ‘A Swedish Clarinet Star’, and continuing ‘Fröst has everything – including genius’. More than 10 discs later his recording of Bernard Crusell’s three clarinet concertos caused the reviewer in French Classica-Répertoire to remark that ‘in every movement his playing hits upon the appropriate elegance, the perfect phrasing, the true colour, the required virtuosity, the necessary playfulness ... as he pursues his musical intentions all the way’ – a description that could equally well be applied to the present disc!.\u003cbr\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46013289136362,"sku":"7318599918235","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263797.jpg?v=1778298910"},{"product_id":"shostakovich-new-babylon-a-year-is-like-132330","title":"Shostakovich: New Babylon, A Year Is Like A Lifetime","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eSHOSTAKOVICH \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eNew Babylon. A Year Is like a Lifetime \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e• \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eFrank Strobel, cond; Kai Adomeit (pn); Southwest German RO Kaiserslautern \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e HÄNSSLER 93.188 (2 CDs: 135.49) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style:italic\"\u003eNew Babylon \u003c\/span\u003e \u003cspan\u003eis not one of Shostakovich’s standard, propagandistic, political potboilers. This is the music of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eenfant terrible \u003c\/span\u003e \u003cspan\u003eof Soviet music. Composed in 1928 immediately following his satirical opera, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Nose\u003c\/span\u003e \u003cspan\u003e, the score for the silent film \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew Babylon\u003c\/span\u003e \u003cspan\u003e reflects Shostakovich’s lifelong fascination with the cinema and his experience as a piano accompanist for silent films. The film’s directors, Grigori Kosintev and Leonid Trauberg, were considered to be avant-garde, if that were possible at the time. \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew Babylon \u003c\/span\u003e \u003cspan\u003edeals with the rebellion of the Paris commune in 1870–71, with a superimposed tragic love story between a working girl and a bourgeois soldier. Shostakovich had recently completed his brilliant First Symphony, and the directors immediately wanted him to score the film. Shostakovich’s music is laced with dissonance, acerbic wit, bitonality, and flirts with atonality. The composer utilizes numerous fragmentary quotations from sources as disparate as Offenbach, Tchaikovsky, and the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarseillaise. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAn abridged Melodiya version conducted by Gennady Rozhdestvensky was released in 1976 by CBS, and a more-or-less complete recording has been recently available on Capriccio conducted by James Judd. That was the most definitive recording, at least in terms of completeness, prior to the appearance of this one. The program notes state that this complete reconstructed version—including all the music cut from the film—is based on the composer’s personal manuscripts stored in the Glinka museum in Moscow and the orchestral parts and piano score printed for the premiere. The manuscript was edited by the D-S-C-H publishing house and cross-referenced to a proof copy from the composer’s personal estate. In addition, Frank Strobel synchronized the newly edited music with the 1929 premiere version of the film. All of this is not surprising when you consider Strobel’s incredible reconstruction of Prokofiev’s complete score for \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAlexander Nevsky \u003c\/span\u003e \u003cspan\u003e(\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare \u003c\/span\u003e \u003cspan\u003e28:3). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThere appears to be no reason to doubt the authenticity of this version, but it really doesn’t matter because Strobel’s performance and Hänssler’s sound are superior to the previous Capriccio recording. Capriccio’s soft edged, more distantly miked sound does not serve the music as well as the more brash, brassy, and closely miked sonics on this recording. There is over an hour and a half of outrageous, funky, melodic but gently dissonant music reminiscent of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Nose \u003c\/span\u003e \u003cspan\u003eand his impish ballets. Strobel’s conducting, aided by incisive and dynamic sound, is flamboyant as befits the music. Shostakovich’s bad-boy early style is an acquired taste for some, but if you have any interest in this aspect of Shostakovich’s art, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew Babylon\u003c\/span\u003e \u003cspan\u003e will be a treasure. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style:italic\"\u003eA Year Is like a Lifetime\u003c\/span\u003e \u003cspan\u003e is an entirely different story, but is not without interest. It begins with three cues featuring straightforward, bombastic statements of the ubiquitous \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarseillaise\u003c\/span\u003e \u003cspan\u003e (as opposed to the fragmentary references and variations in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew Babylon\u003c\/span\u003e \u003cspan\u003e), urgent low strings, strident brass, and slashing snare drums. But at the end of the “Intermezzo” a strange thing happens. The music subsides into \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003epianissimo\u003c\/span\u003e \u003cspan\u003e quivering strings and tolling bells from the sound world of the 11th Symphony. Then a 15-minute subdued, atmospheric, and introspective “Farewell” featuring a plaintive French horn solo is clearly the emotional and musical heart of the score. It is followed by a delicious, tongue-in-cheek waltz and a brief reappearance of some faceless battle music. The suite concludes with the horn solo and music of the “Farewell,” now more upbeat in a surprisingly understated way, with wind and brass chords embellished by lush, rising and falling string configurations building to a climax that Golden Age film music fans will love. Thus the noisy bombast offers contrast rather than dominating a score that remains cinematic, but is predominantly subdued and eminently likeable in the style of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Song of the Forests\u003c\/span\u003e \u003cspan\u003e oratorio. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis album is a clear winner in every conceivable way. The music, performance, and sound make it required listening for any adventurous listener interested in the music of Shostakovich beyond the symphonies and string quartets. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Arthur Lintgen \u003c\/span\u003e\u003cbr\u003e","brand":"SWR","offers":[{"title":"CD","offer_id":46013331898602,"sku":"4010276018995","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1028089.jpg?v=1778189467"},{"product_id":"bennett-r-r-words-and-music-of-richard-rodney-bennett-095115141120","title":"Words and Music of Richard Rodney Bennett","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46013373710570,"sku":"095115141120","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1014816.jpg?v=1778338460"},{"product_id":"berlin-for-brass-alexander-s-ragtime-band-puttin-on-the-ritz-white-christmas","title":"Berlin for Brass – Alexander’s Ragtime Band \/\nPuttin’ On The Ritz \/ White Christmas","description":"Irving Berlin was one of the first and one of the most prolific of tunesmiths who wrote for the Broadway stage and for Hollywood musicals. Furthermore, like Cole Porter but unlike the majority of tunesmiths who worked with lyricists, Berlin wrote both tunes and lyrics. Here we have 19 of his most popular tunes in instrumentals arranged for brass bands. The band in question is the Chestnut Brass Company, founded in Philadelphia in 1977. Most of the tunes are up-tempo, but there are also some more wistful tracks like 'When I lost you', 'What'll I do?' and 'They say it's wonderful'. No Berlin collection would be complete of course without 'White Christmas', which sounds surprisingly poignant in this mellow brass arrangement.","brand":"Naxos","offers":[{"title":"CD","offer_id":46013456810218,"sku":"636943912324","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/443760.jpg?v=1778186707"},{"product_id":"the-truth-about-love","title":"The Truth about Love","description":"The Truth about Love","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46015598625002,"sku":"886972934327","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4317810-3145139.jpg?v=1778238460"},{"product_id":"shostakovich-d-alone","title":"Shostakovich, D.: Alone","description":"Classical Music","brand":"Delos","offers":[{"title":"CD","offer_id":46017708753130,"sku":"013491200224","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1626604.jpg?v=1778381723"},{"product_id":"shostakovich-the-gadfly-five-days-five-nights-234439","title":"Shostakovich: The Gadfly, Five Days-five Nights \/ Kuchar","description":"Shostakovich: Gadfly Suite (The) \/ Five Days-Five Nights Sui","brand":"Naxos","offers":[{"title":"CD","offer_id":46025337241834,"sku":"730099429924","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127430.jpg?v=1778346542"},{"product_id":"heitzeg-s-death-of-the-dream","title":"Heitzeg, S.: Death of the Dream","description":"Classical Music","brand":"Innova Recordings","offers":[{"title":"CD","offer_id":46025490039018,"sku":"726708653323","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/317062.jpg?v=1778283925"},{"product_id":"vaughan-williams-film-music-classics-penny-rte-95712","title":"Vaughan Williams: Film Music Classics \/ Penny, RTE Concert Orchestra","description":"Ralph Vaughan Williams composed in a wide variety of genres, and film music became a significant part of his output in the latter decades of a long and distinguished career. He viewed film scores as more than just ephemera, seeking to \"intensify\" the spirit of the whole\" in wartime productions such as the defiantly anti-Nazi 49th Parallel and Coastal Command, in which the graceful romance of sea-planes sends the spirits soaring. The haunting and evocative atmosphere of The Flemish Farm contrasts with Three Portraits that evoke the first Elizabethan age and announce the springtime of the second.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025565274346,"sku":"747313365876","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3435686.jpg?v=1778306614"},{"product_id":"korngold-the-adventures-of-robin-hood-stromberg-95693","title":"Korngold: The Adventures of Robin Hood \/ Stromberg","description":"\u003cp\u003eOn its first appearance on the Marco Polo label, this recording was acclaimed as ‘a model of what these things should be’ (Fanfare) and that no release on the label was ‘better or more important than this’ (ClassicsToday.com). It presents a definitive restoration of Korngold’s music for the 1938 Warner Bros.’ production of The Adventures of Robin Hood, starring the ultimate swashbuckler, Errol Flynn, and still one of the most-loved of all motion pictures. Throughout—and to an unprecedented degree—Korngold captures its lavish spectacle, romance, colour, pageantry and humour in his magnificent score. Also included is the Original Theatre Trailer Music, not previously available on CD.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025939419370,"sku":"747313336975","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2873546_951d8b0e-a878-4de6-88ac-4aaa1f2e4dda.jpg?v=1778284169"},{"product_id":"film-music-classics-shostakovich-hamlet-yablonsky-234842","title":"Film Music Classics - Shostakovich: Hamlet \/ Yablonsky","description":"Shostakovich's film score to Hamlet is one of his finest, possibly because it's a serious film rather than a socialist-realist potboiler, and the composer's moody, mostly spare music supports the action with unfailing accuracy and makes compelling listening on its own. The well-known suite leaves out a lot of music, and while there's inevitably a degree of repetition involved, this complete recording is very welcome for its inclusion of such segments as \"Hamlet's Parting from Ophelia\", \"Hamlet's Monologue\", \"Ophelia's Descent into Madness\", \"Hamlet at Ophelia's Grave\", and \"The Cemetery\".\u003cbr\u003e  \u003cbr\u003e As you may have guessed from the titles, the added music creates a considerably darker overall impression than does the suite, and this in a work that begins with the \"whip-crack\" motive from the third movement of Shostakovich's not-exactly-jocose Thirteenth Symphony \"Babi Yar\". So it may not be the most emotionally varied score, but it does sound very Russian and very much like late Shostakovich, and conductor Dmitry Yablonsky treats it accordingly. He and his orchestra bring just as much conviction and intensity (try \"The Ghost\") as they would to one of the symphonies, and Naxos' sonics are vivid. Be sure, however, to get the regular stereo CD: the SACD is a failure, with way too much stuff coming from the rear channels. Definitely worth owning.\u003cbr\u003e  \u003cbr\u003e --David Hurwitz, ClassicsToday.com\u003cbr\u003e  \u003cbr\u003e  \u003ci\u003eFull review from FANFARE Magazine\u003c\/i\u003e:\u003cbr\u003e Shakespeare’s indecisive hero played a persistent role in Shostakovich’s life. In 1932, the composer completed incidental music for a controversial stage production directed by Nikolai Akimov. Five years later, when the Fifth Symphony was completed, some commentators referred to it as the “Hamlet” Symphony because of its brooding and equivocal moods, and the composer himself did not escape comparisons with the great Dane. Given Shostakovich’s sizable experience with film scores, it was only natural for him to write the score to Grigori Kozintsev’s  \u003ci\u003eHamlet\u003c\/i\u003e in 1964. Over the years, there have been several recordings of the eight-item suite (op. 116a) that Lev Atovmian assembled from the score. This CD, however, appears to be the premiere recording of the complete score, including music that didn’t even make it into the film.\u003cbr\u003e  \u003cbr\u003e At this juncture, one usually makes the comment that Shostakovich’s film scores do not represent his best work, and that they shouldn’t be considered “typical” of his output. Even though I’ve made them myself, I’ve often found those comments a little condescending, however, and with  \u003ci\u003eHamlet\u003c\/i\u003e, we have music that is both top-of-the-line and typical of Shostakovich. To put this score in a chronological perspective, it is flanked by the 13th and 14th Symphonies, and it was completed in the same year as the Ninth and 10th String Quartets—hardly bad company! There’s much in  \u003ci\u003eHamlet\u003c\/i\u003e that is reminiscent of the composer’s very best work from this period. Shostakovich probably could write film music in his sleep, but it is clear that  \u003ci\u003eHamlet\u003c\/i\u003e engaged his attention and creativity in a very profound way.\u003cbr\u003e  \u003cbr\u003e Granted, not all the music is brilliant and essential—even 14-second fanfares have been included among these 23 tracks—but there’s much that is worth hearing outside of Atovmian’s suite. For example, the wonderfully eerie “Story of Horatio and the Ghost” might have been an outtake from the first movement of the 11th Symphony, and the five-minute “Hamlet’s Parting from Ophelia” proves once again that a note of music is worth a thousand words. A gently tinkling harpsichord aptly evokes both a courtly atmosphere and Ophelia’s emotional fragility. Hamlet’s music reveals his destructiveness and his nobility. And so it goes. Yes, there is some bombast here, yet it is bombast with a purpose—to evoke the empty pageantry of Claudius’s Elsinore, for example.\u003cbr\u003e  \u003cbr\u003e Yablonsky not only conducts this music passionately, he also plays it in its proper cinematic order. This is not true of Atovmian’s suite, in which the Players arrive after (!) they perform  \u003ci\u003eThe Murder of Gonzago\u003c\/i\u003e. As I suggested above, a few of the shorter cues are intrusive, but all in all, this CD is a satisfying listening experience, no matter what standard of judgment one uses.\u003cbr\u003e  \u003cbr\u003e Yablonsky is the son of pianist Oxana Yablonskaya, and he is accumulating quite a series of fine recordings for Naxos. Fine-sounding ones too, as the engineering is superb. Thirty years ago, who would have guessed that Russians would be making audiophile recordings in 2003? (I understand that there is an SACD version of this disc, too.)\u003cbr\u003e  \u003cbr\u003e If I had reviewed this disc a little earlier, I might have put it on my Want List for the year. The music, performances, and engineering are of the highest quality, and I can think of no better way to spend a leaden August (or November!) evening than to play this CD over and over again—which is exactly what I have done.\u003cbr\u003e  \u003cbr\u003e Raymond Tuttle, FANFARE\u003cbr\u003e  \u003cbr\u003e  \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/listPage.jsp?list_id=515\"\u003eClick Here\u003c\/a\u003e for the complete  \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/listPage.jsp?list_id=515\"\u003eNaxos Film Music Classic Series\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025940697322,"sku":"747313244621","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/647481.jpg?v=1778185224"},{"product_id":"film-music-classics-honegger-les-miserables-95432","title":"Film Music Classics - Honegger: Les Misérables","description":"\u003cbr\u003e \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/listPage.jsp?list_id=515\"\u003eClick Here\u003c\/a\u003e for the complete  \u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/listPage.jsp?list_id=515\"\u003eNaxos Film Music Classic Series\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025941450986,"sku":"747313248629","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/705157.jpg?v=1778294800"},{"product_id":"khachaturian-othello-suite-battle-of-stalingrad-suite-122315","title":"Khachaturian: Othello Suite, Battle of Stalingrad Suite \/ Adriano","description":"This disc was one of Ian Lace’s Recommended Original Film Score Recordings when first issued at full price as Marco Polo 8.223314. Here it resurfaces at upper bargain price.\u003cbr\u003e  \u003cbr\u003e  Khachaturian, like many another composer, major and lesser, in Soviet Russia, turned his hand to the cinema and did so pretty extensively. This was a great leveller, a ready source of income and a means of reaching out to mass audiences across the Union. The pity is that we see so few of those films. If we think at all about them we much more readily accept seeing them written off as the work of political hacks. The composer’s first effort – of eighteen - was the film Pepo written for the Armenian Film Board a few years before his First Symphony (1934). His last film dated from 1960.\u003cbr\u003e  \u003cbr\u003e  Here are suites assembled from the music for two of Khachaturian’s cinema scores. They are played for all they are worth. Adherents of this composer and of twentieth century music of the USSR will want to hear how he fared in dealing with the silver screen.\u003cbr\u003e  \u003cbr\u003e  The Battle of Stalingrad original score ran to some two hours. The titles give us some impression of what is featured in this suite: I. A City on the Volga - II. The Invasion; IIIa. Stalingrad in Flames; IIIb. The Enemy is doomed; IV. For our Motherland; To the Attack! - Eternal Glory to the Heroes; V. To Victory - VI. There is a Cliff on the Volga. Much of this is urgent and not specially subtle – then again this is not meant to be about subtlety. The music often has a furious seething energy typical of the militaristic bravado found in the music for the Roman legionaries in Spartacus. We also hear little half-echoes of The Great Gate of Kiev. There are some glowing interludes such as that to be found in the almost Bridge-like battlefield bleakness of tr. 3 and at the close of tr. 4 (Eternal Glory to the Heroes). There are also moments that seem to evoke the composer’s great ballets – especially Spartacus. The cheery brassy march that is To Victory is noticeably purged of the ferocity to be found in the turbulent flag-waving first movement. This could almost be a march by Arthur Bliss. There’s a brass band version of the suite on Lawo which Nick Barnard did not think much of.\u003cbr\u003e  \u003cbr\u003e  Both Chandos and Capriccio have done extensive series of the film music of Shostakovich. No such thorough efforts have gone in Khachaturian’s direction. There has been this single disc from Naxos and some film suites from ASV. Indeed fifteen minutes of Loris Tjeknavorian’s take on The Battle of Stalingrad was issued on Alto. It was originally issued with the Second Symphony.\u003cbr\u003e  \u003cbr\u003e  If the Stalingrad score’s gaudy virtues are embraced, often at the expense of the more understated and nuanced, Othello from 1955 is much more multi-faceted. This is as befits a presumably fairly classy Shakespeare film in a translation made by Boris Pasternak – he of Doctor Zhivago fame. The Prologue and Intermezzo is especially touching with a memorable tolling solo violin which returns in the finale. There’s also some extremely inventive writing in a mode recalling Prokofiev who had died two years before this film. The Desdemona Arioso is a swellingly emotional vocalise for soprano with orchestra with more than few links with the famous Adagio from Spartacus. The little Venice Nocturne (tr.4) is a lovely miniature, showing as does much of this score, that Khachaturian is much more than a peddler of crushingly loud music. The grey psychological aspects of Nocturnal Murder make way for the intensity of Othello’s Despair. The urgently rushing A Fit of Jealousy will have you thinking of the ruthlessly athletic music for Crassus in Spartacus. If Khachaturian indulges in a Hollywood-style choir in the Finale – well, why not, and it is by no means cheesy.\u003cbr\u003e  \u003cbr\u003e  The recording is extremely good despite its 25 year vintage. The notes by the conductor are helpful in placing the score and the films from which this music is drawn.\u003cbr\u003e  \u003cbr\u003e  I hope that at some time, in a world where there are seemingly hundreds of film channels, we will get to see these films.\u003cbr\u003e  \u003cbr\u003e  There you have it: specialist territory maybe but two very welcome substantial suites from the world of Khachaturian’s film music.\u003cbr\u003e  \u003cbr\u003e  – Rob Barnett, MusicWeb International","brand":"Naxos","offers":[{"title":"CD","offer_id":46025947742442,"sku":"747313338979","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2589322.jpg?v=1778310970"},{"product_id":"shostakovich-new-babylon-fitz-gerald-basel-sinfonietta-107184","title":"Shostakovich: New Babylon \/ Fitz-Gerald, Basel Sinfonietta","description":"\u003cb\u003eWithout doubt this is one of the finest all-round achievements by Naxos.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e At the risk of courting the charge of hyperbole I would venture this CD as one of the most significant Shostakovich releases in recent years. Fine though the award-laden Petrenko symphony cycle undoubtedly is, let's be honest we already know that is an extraordinary group of works and most have received superb performances before. The score presented here is as significant as it is relatively unknown and this new recording can lay fair claim to being definitive. My reasoning runs as follows; Shostakovich was one of the most important Soviet composers. The Soviet Union was the first state to recognise the power of cinema to influence mass mood and opinion. In the late 1920s the cultural elite of the Soviet Union were still being empowered by the state to produce work that was radical and revolutionary. Exploring utopian ideals and cinema was regarded as being at the forefront of the new radical arts. In the era of Silent Cinema the dedicated film-score was still comparatively new and as such had to carry the dramatic and emotional non-visual weight of the story. Shostakovich had first-hand practical experience of playing for film - this gave him a practitioner’s insight into what would ‘work’ that was simply not part of the skill set of any composer before or probably since. As the liner accurately points out - for all the deprivation and residual violence abroad in the new Soviet State this was an age of idealism and hope. Shostakovich had yet to have his idealistic vision of communism curdled by the cynical realities of living in a totalitarian state. He poured into this score the best that the idiom would allow. \u003cbr\u003e    \u003cbr\u003e  Whether measured by the yardstick of the history of cinema, the Soviet Union or simply as part of the Shostakovich oeuvre this is an important release. Add to that the fact that this recording offers the most complete, skilfully reconstructed and authentic - as far as it uses the original 14 player line-up - rendition of the score yet made. It becomes a compulsory purchase. This is the third release of Shostakovich film scores conducted by Mark Fitz-Gerald. Very fine indeed though the previous two have been I consider this the best so far. Not that the earlier issues lacked for anything in terms of performing or interpretative quality - simply that this work is more significant than the others on just about every level. Its importance is reflected in the fact that elements of the score have been recorded several times in the past although only the - also fine - version from James Judd on Capriccio with the Berlin Radio Symphony Orchestra comes close to matching the actual quantity of music recorded. The next most extended sequence - from Valeri Polyansky and his Russian State Symphony Orchestra on Chandos (CHAN 9600) - contains some 44 minutes of the score - less than half of Fitz-Gerald’s epic traversal. A pithier selection is offered by Gennady Rohzdestvensky (Russian Disc RDCD11064). This was my introduction to this score in its original Melodiya LP version (later reissued as ASD3381) and I still enjoy its ribald cabaret character. My sole observation of this new Naxos performance - and it is an observation not a quibble - is that the chamber scale and super-refined quality of the playing fractionally detracts from the pure theatre of the work. When I was a student at the Guildhall School of Music in London - around 1983 I guess - they staged a viewing of this score accompanied by one of the college orchestras. To this day the power of the film and accompanying score lives with me. I strongly suggest that any readers who ever have the opportunity to see this performed live should leap at the chance. It is a magnificent piece of work and one that shows how even at the tender age of 23 Shostakovich understood the compelling power of the moving image. The very valid argument advanced by Fitz-Gerald for using chamber scale forces is that these are the maximum resources that Shostakovich would have had for the premiere. My counter-argument is that every silent movie score would be written with a degree of inherent elasticity. I find it hard to imagine for a moment that Shostakovich would not have preferred more players at the premiere - certainly many of the dramatic passages in the score do not sound as though they are intended for such a chamber group. That being said, Shostakovich was commissioned to provide a  \u003ci\u003esmaller\u003c\/i\u003e orchestration suitable for use in the bulk of Soviet cinemas. Indeed reluctant musical directors often reverted to using generic music when the film was shown rather than attempting the complexities of this new score. \u003cbr\u003e    \u003cbr\u003e  Every other recording has opted for a full standard orchestra. Although I do naturally veer towards the bigger sound the more I hear this performance the more I realise that this is a score full of proper music of considerable range and power. Initial impressions are of a riot of colour and witty referencing of popular period tunes from the  \u003ci\u003eMarseillaise\u003c\/i\u003e to Offenbach. The  \u003ci\u003eNew Babylon\u003c\/i\u003e of the title refers to a department store which in turn is a metaphor for the decadent Paris pre the Franco-Prussian War of 1870. The ensuing uprising and short-lived Paris Commune provided the early Soviet State with a historic precedent for their own revolution. Lessons learnt from the failure of the Commune influenced the thinking of both Marx and Lenin. Musical experts differ on whether Shostakovich used these melodies because they embodied all things despicably bourgeois or simply because they are rather good tunes. I tend towards the latter opinion - any young composer who can choose as his first dramatic work a setting of Gogol -  \u003ci\u003eThe Nose\u003c\/i\u003e - with its dyspeptic view of authority and institutions is not going to become a star-struck-slogan-wielding-party-line-puller two opus numbers later. At the heart of Shostakovich’s abiding genius is the acidic cynicism that clots and curdles even his most superficially benign music. \u003cbr\u003e    \u003cbr\u003e  Fitz-Gerald conducts the Basel Sinfonietta and they prove to be stunningly fine collaborators. The scoring is for a string quartet plus bass, a woodwind quintet and a brass group of a second horn, two trumpets - although the second is there simply to relieve the work-load on the first player rather than having an independent part - and a trombone. The line-up is completed by a piano and three percussion. Again this number allows for ease of changes rather than necessity. The use of this essentially chamber ensemble creates an aural world that instantly delineates the composer's deft scoring. For the first time I heard a positively Gallic wit at work, very much along the lines of Ibert's  \u003ci\u003eDivertissement\u003c\/i\u003e although, as always with Shostakovich, you feel a bleak cold despair might be lingering in the shadows. The spirit of \"eat, drink and be merry for tomorrow we die\" clouds the celebrations. Another fascinating characteristic is developed here by the composer. In collaboration with the film-makers Shostakovich chose not to \"illustrate the frame\". When critics wish to deride a work the ultimate insult is to say its sounds like film music. This is a short-hand for saying it treats emotions\/ideas\/situations in an obvious and direct manner - in other words it illustrates the frame. Shostakovich does the reverse - if the image is happy, the music is sad, epic - petty. Its a crazy almost anarchic ploy but one that makes for an extraordinarily powerful juxtaposition of sight and sound. The problem we have here is that we are divorced from the image and wonderful though that is it cannot be anything less than a fraction of the whole. \u003cbr\u003e    \u003cbr\u003e  Across the two discs the music is presented as a continuous flow of music as it occurred in each of the film's eight reels. The abiding impression is of a kaleidoscopic riot of sounds and impressions, fragments of musical stories, passing characters and changing mood. There is a hedonistic delight in the sheer indulgence of influence and pastiche. No real surprise to read that the original score quickly fell into disuse - it was both too hard for the average cinema player and too subversive for musicians brought up on a diet of illustrative generic music and excerpted 'classics'. From a historical perspective the quite remarkable thing is that as late as his Op.145 - his  \u003ci\u003eSuite on verses by Michaelangelo\u003c\/i\u003e Shostakovich was applying  \u003ci\u003eexactly\u003c\/i\u003e the same principle of contrast. There a verse with the slightly daunting title  \u003ci\u003eImmortality\u003c\/i\u003e is set to an accompaniment of a piccolo whistling a tune any paperboy would be proud of. Back with  \u003ci\u003eNew Babylon\u003c\/i\u003e Fitz-Gerald has more practical experience of conducting this score in context with the film than any other person. This deep knowledge converts into a performance that is perfectly paced and remarkably finds a unity, a through-line in the midst of the mayhem. Allied to the virtuosic playing of his Swiss Orchestra and you will appreciate the level of achievement. The superlatives do not stop there. The engineering is first rate. The sound is quite close, certainly very detailed but it treads the tricky narrow line between large chamber group or small orchestra. The scale of the group is very effectively caught allowing the intimate passages to beguile while the bigger sequences have an impressive impact. Yes I do miss the sheer extra weight that Judd is able to deploy or the uniquely sly and sarcastic Rozhdestvensky. I repeat, the more I listened the more I was converted to the style of this version. \u003cbr\u003e  \u003cbr\u003e  The booklet is surely Naxos' finest yet. Once one gets past the obligatory I-need-to-get-my-eyes-tested minute font this is packed with fascinating information, film stills and even a facsimile page of the original score. Fitz-Gerald has had to reconstruct the final part of the final reel because late in the film's production the ending changed turning the original bleak ending into something more positive. Fascinatingly we have two essays by Shostakovich scholars which give different interpretations for this change. One by David Robinson feels the changes were artistically driven whilst the other by John Riley cites political expediency. Both are full of fascinating insights. Riley provides a detailed synopsis and the notes are completed by an article by Fitz-Gerald outlining the long overdue restoration and reappraisal of this very important score. Don’t listen to this score expecting the profundity of the composer’s greatest work - that was never the remit here. Treated as a musico-social document - as well as containing much wonderfully entertaining music - this is a magnificent achievement from all concerned from composer to performers and the production team. \u003cbr\u003e  \u003cbr\u003e  Curiously for a disc that is literally definitive it does not make me want to throw away either of the two other versions I cherish. Both Judd and Rozhdestvensky in their very differing ways offer valid alternative insights into this box of delights of a score. Judd with his full orchestra gains in impact during the set-piece sequences whilst Rozhdestvensky benefits from an authentically edgy Russian sound and gleeful eccentricity that is quite wonderful. The extra music that has been constructed to cover the discarded ending is effective and suitable but you will have made your mind up about this score and the performance way before that final sequence is reached. Fitz-Gerald achieves an ideal balance with his super-slick players able to slip from queasy waltz to buffoon’s gallop or poignant interlude in an instant. Remarkable results are achieved by ensembles these days in hot-house conditions of read\/record. However when you hear a well rehearsed, convincingly argued performance of music with which the players are familiar the benefits are both obvious and great. \u003cbr\u003e \u003cbr\u003e  Without doubt this is one of the finest all-round achievements by Naxos. \u003cbr\u003e \u003cbr\u003e  – Nick Barnard, MusicWeb International\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46025986310378,"sku":"747313282470","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1908297.jpg?v=1778342630"},{"product_id":"basil-poledouris-conan-the-barbarian-transcribed-for-57029","title":"Basil Poledouris: Conan The Barbarian Transcribed For Organ","description":"Conan the Barbarian is a 1982 adventure film, directed and co-written by John Milius. It was his intention to create an opera in the form of a film. Since the opera contains very little dialogue, he used the music to support the story line. 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John Cougar, however, seems an odd choice to sing the obligatory closing-title ballad; the song itself is pitched at the low end of his vocal register, and he sounds as vaguely uncomfortable with it as Bob Dylan did with his brief turn on \"We Are the World.\"","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46026341515498,"sku":"696998928220","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4361708-3215450.jpg?v=1778237129"},{"product_id":"thomson-the-plow-that-broke-the-plains-218528","title":"Thomson: The Plow That Broke The Plains, The River \/ Gil-Ordóñez, Post-Classical Ensemble","description":"Pare Lorentz's The Plow that Broke the Plains (1936) and The River (1937) are landmark American documentary films. Aesthetically, they break new ground in seamlessly marrying pictorial imagery, symphonic music, and poetic free verse, all realized with supreme artistry. Ideologically, they indelibly encapsulate the strivings of Franklin Delano Roosevelt's New Deal.\u003cbr\u003e  \u003cbr\u003e The first film created by the United States Government for commercial release and distribution, The Plow was also – in the words of the film-music historian Neil Lerner – \"the most widely publicized attempt by the federal government to communicate to its entire citizenry through a motion picture.\" It became the first film to be placed in Congressional archives and, following the wishes of FDR, would have become the first film screened at a joint session of Congress had the capitol chambers been equipped to show a sound film.\u003cbr\u003e  \u003cbr\u003e Virgil Thomson's scores for both films – here recorded in their entirety for the first time since Alexander Smallens conducted the soundtracks – are among the most famous ever composed for the movies. Aaron Copland praised the music for The Plow for its \"frankness and openness of feeling,\" calling it \"fresher, more simple, and more personal\" than the Hollywood norm. He called the music for The River \"a lesson in how to treat Americana.\"\u003cbr\u003e  \u003cbr\u003e The Plow that Broke the Plains was denounced (accurately) as New Deal propaganda. Sensing competition, Hollywood barred The Plow from its distribution system. Billed \"The Picture They Dared Us to Show!\" it opened at New York's Rialto Theatre and was cheered nightly. Public demand prevailed: eventually, over 3,000 theaters (out of 14,000 commercial cinemas nationally) screened The Plow to enthusiastic reviews. The Baltimore Sun found \"more serious drama in this truthful record of the soil than in all the 'Covered Wagons' and 'Big Trails' produced by the commercial cinema.\"\u003cbr\u003e  \u003cbr\u003e Voted the best documentary at the 1938 Venice Film Festival (beating Leni Riefenstahl's Olympiad), The River was an overwhelming critical and commercial success. Paramount Pictures accepted it for national distribution. 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The series is especially associated with the conductor Rumon Gamba, whose undertstanding and enthusiasm for the form shines through. Vaughan Williams's film music ranks amongst the very finest ever written, and this CD contains some excellent examples. What makes this disc so important is that some of the material has never been recorded before, music which has been painstakingly assembled by Chandos' in-house arranger and music researcher, Stephen Hogger. The result is a hugely important release which will be of interest to both film music buffs and fans of Vaughan Williams.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027382096106,"sku":"095115124420","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/661352.jpg?v=1778343359"},{"product_id":"saxophone-impressions","title":"Saxophone Impressions","description":"Saxophone Impressions","brand":"DUX","offers":[{"title":"CD","offer_id":46027475452138,"sku":"5902547008851","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2190138_a535b037-5487-4568-92cc-7cbec7634cc8.jpg?v=1778308928"},{"product_id":"barber-korngold-violin-concertos-alexander-gilman-208956","title":"Barber, Korngold: Violin Concertos \/ Alexander Gilman","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eBARBER\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Violin Concerto. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eKORNGOLD\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Violin Concerto. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eWAXMAN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eCarmen Fantasy \u003c\/span\u003e \u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Alexander Gilman (vn); Perry So, cond; Cape Town PO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e OEHMS 799 (68: 09) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eWILLIAMS \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSchindler’s List: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eTheme \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eExcept for John Williams’s theme from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchindler’s List\u003c\/span\u003e \u003cspan\u003e, the compositions on violinist Alexander Gilman’s program with Perry So conducting the Cape Town Philharmonic Orchestra all suffered a certain amount of neglect after their first performances and recordings. Isaac Stern (and Louis Kaufman and Robert Gerle) brought Samuel Barber’s concerto to the attention of listeners, and now it has just about entered the repertoire, and students adopt it for competitions. Alexander Gilman produces a glowing tone from his Giovanni Battista Guadagnini violin, but the engineers don’t set him so far forward as Columbia’s did Isaac Stern; if Gilman plays with less ruddy energy, he more than compensates for it in subtlety and refinement. His generally more relaxed approach doesn’t prevent him or the orchestra from soaring in the climactic moments. Oehms’s engineers have set him just a bit forward, with just enough of the spotlight focused on him to lend him soloistic prominence. He and So take their time in the slow movement without giving even a hint of immobility; in the middle section, his tone grows temporarily as glutinous as Mischa Elman’s. And at last, alchemist Gilman transmutes even the finale’s most mechanical perpetual-motion elements into musical gold. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eErich Wolfgang Korngold’s concerto (like Piotr Ilyich Tchaikovsky’s) has also come a long way from the days in which Jascha Heifetz’s recording might have intimidated other violinists from trying their hands in the work (even if Irving Kolodin’s dictum “more corn than gold” hadn’t already done so) but also for years represented the only entry into the catalog. In the last decade, especially, many violinists have taken it up, many of them, notably perhaps Nikolaj Znaider (RCA 710336, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 32:6) taking the first movement at a much slower tempo than Heifetz’s. But while playing the movement more slowly for musical reasons may be defensible, Gilman seems also to struggle in its quicksilver technical passagework, though he soars in its rhapsodic lyrical moments (at least he attacks the double-stops about halfway through the movement with a sort of abrasive gusto). Still, at almost 10 minutes, the first movement sounds very slow, creating despair that the expected climaxes will never arrive. Heifetz took 7:47 in his 1953 studio recording and 7:46—always consistent, that Heifetz—in a 1947 live performance; but Anne-Sophie Mutter took 8:40; Philippe Quint, 8:48; James Ehnes, 8:57; Gil Shaham, 9:03; and Znaider, as mentioned, 9:19, and finally, Gilman, at 9:44, an obvious pattern. The slow movement also seems to stall in this way, although the lush sonorities that So draws from the orchestra gives listeners something to enjoy in the waiting room; Gilman’s corresponding timbral lushness extends from the top to the bottom of his violin’s range, and together violin and orchestra collaborate in a richly atmospheric reading of the movement. The tranquil conclusion, despite its near immobility, provides an effective lull before the boisterous intrusion of the finale’s theme. But Gilman balances percussive aspects with Heifetz’s penetrating clarity in the upper registers during the finale’s lyrical interludes, and fashions a climax of cinematic sweep. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eFranz Waxman’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eCarmen Fantasy\u003c\/span\u003e \u003cspan\u003e, now, according to some, preferred to Sarasate’s similar work by Russian violinists, also has cinematic connections—and again to Heifetz, with whom negotiations for playing the violin solos in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eHumoresque\u003c\/span\u003e \u003cspan\u003e broke down (Stern finally being engaged). Nevertheless, Heifetz played and programmed the work from the beginning. Gilman’s reading sounds at the same time a bit warmer and perhaps a bit cheekier, and even a bit more seductive. The program concludes with a rather lugubrious reading of the theme from John Williams’s score to \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchindler’s List. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThose seeking these particular works on CD should find Gilman’s readings more than satisfactory even if Heifetz still reigns supreme in Korngold, with either Heifetz or Leonid Kogan occupying similar positions in Waxman’s chestnut—at least for sheer brilliance. Warmly recommended. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Robert Maxham \u003c\/span\u003e\u003cbr\u003e","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46027482431722,"sku":"4260034867994","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1948627.jpg?v=1778320401"}],"url":"https:\/\/arkivmusic.com\/collections\/film-and-tv-music.oembed?page=4","provider":"ArkivMusic","version":"1.0","type":"link"}