| | Movie Hits Of The 90'S Soundtrack CD
Movie Hits of the 90's is a soft-toned collection of romantic instrumental pieces, including versions of the themes to Batman, Forrest Gump, Godzilla and Jurassic Park, as well as five separate tracks from the blockbuster Titanic. ~ John Bush Movie Hits Of The 90'S Soundtrack Music Movie Hits Of The 90'S Soundtrack Songs | 1. | Titanic, film score: Distant Memories - Various Artists |
| 2. | Titanic, film score: Southampton - Various Artists |
| 3. | Titanic, film score: Rose - Various Artists |
| 4. | Titanic, film score: Sinking - Various Artists |
| 5. | Titanic, film score: Life So Changed - Various Artists |
| 6. | Titanic, film score: My Heart Will Go On - Various Artists |
| 7. | Batman, film score: Excerpt - Various Artists |
| 8. | Forrest Gump, film score: Suite - Various Artists |
| 9. | Godzilla, film score (1998): Opening Titles - Various Artists |
| 10. | Jurassic Park, film score: Excerpt - Various Artists |
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Movie Hits Of The 90'S Soundtrack Review
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Brahms and Schumann, Biddulph # 80226-2 One might call this recording 'historically inspired' which is of course a very loose term but nonetheless accurate as the piano, a Bechstein baby grand from 1865 is of the exact same period as Brahms's first cello sonata in e minor. We know from the detailed correspondence that survives from Brahms active concert career that he used many different types of instrument ranging from the early Romantic fortepianos of Beethoven and Schubert to the more powerful and 'songful' instruments developed by makers such as Baumgardten & Heinz, Erard, Streicher, Bechstein and Steinway - those responsible for the tremendous advances in piano technology that came about in the 1850's and 60's. An interesting discovery was that Brahms seems to have admired the smaller grand pianos and was not enamored by the Viennese concert grands. For my Stradivarius cello I opted to use four gut strings, not out of slavish devotion to historical accuracy but because of their more plangent, speaking quality that seemed to blend more successfully with the beautiful mellow voice of the Bechstein. Because the sound of this piano is less massive than those of today, the dynamic balance between both instruments is enhanced, freeing the cellist from his or her usual preoccupation with having to project at all costs. Directly related to this is the challenge of trying to preserve Brahms's original phrase and slur markings, so often a matter of compromise today with string players opting for 'convenience bowings, that give more sound with less effort. I read that old orchestral parts belonging to the Vienna and Berlin Philharmonics indicate that many more notes used to be played in one bow than is customary today. With such an emphasis on the slow pulling of the bow, and less reliance on the left hand for expression and nuance, I began to find that this concept fitted perfectly ...
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