| | Henry V Soundtrack CD (1 Customer Review)
Original score composed by Patrick Doyle.
Performed by The City of Birmingham Symphony Orchestra, conducted by Simon Rattle.
Liner Note Authors: Kenneth Branagh; Patrick Doyle; Simon Rattle.
Recording information: CTS Studios, London, England.
Unknown Contributor Role: Stephen Hill .
Patrick Doyle had been working primarily as an actor until director Kenneth Branagh hired him to write the score for a new film version of Shakespeare's Henry V. Doyle has been writing film music ever since, but this first attempt is probably still his best work. Conducted by the highly respected Simon Rattle, this music has all the stately grace and emotional power the script demands. Because so much of the film is spent in battle scenes, the CD has a few too many ominously unmelodic tracks. But when Doyle aims to move and inspire his audience, it's hard not to develop a few goosebumps. "Non Nobis, Domine," a choral hymn led by Doyle himself, is a profoundly stirring epilogue to the battle scenes. And the piece which underscores Henry's St. Crispin's Day speech ranks among the most moving melodies in recent film. ~ Darryl Cater Henry V Soundtrack Music Review Purchase Music From Henry V CD To buy, Click on price to add to cart | Rudy CD (1993) Original Soundtrack
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| | Show Boat CD (1962) Remastered
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This reissue includes four bonus tracks from earlier versions of SHOW BOAT.
Music composed by Jerome Kern. Lyrics written by Oscar Hammerstein II & P.G. Wodehouse.
Principal Cast: John Raitt (Gaylord Ravenal); Barbara Cook (Magnolia); William Warfield (Joe); Anita Darian (Julie); Louise Parker (Queenie); Fay DeWitt (Ellie); Jack Dabdoub (Cap'n Andy).
Producers: James Foglesong, Thomas Z. Shepard.
Reissue producer: Thomas Z. Shepard.
Recorded at Columbia 30th Street Studio, New York, New York on December 14, 17 & 18, 1961. Includes liner notes by Stanley Green & Didier C. Deutsch.
Digitally remastered by Robert Wolff.
Although Show Boat opened in 1927, before original Broadway cast albums became commonplace, Columbia Records had in its vaults both a 1932 studio cast album of the show featuring members of the Broadway revival of that year and the 1946 Broadway revival cast album. Therefore, while Columbia president Goddard Lieberson devoted much time in the early days of the LP era to creating studio cast albums of classic Broadway musicals, Show Boat was not among the first titles he considered. By the early '60s, however, he decided to do a new recording, perhaps prompted by the limited-run New York City Center revival in the spring of 1961. Anita Darian, who had played Julie LaVerne in that production, was brought in; Broadway stars John Raitt and Barbara Cook were hired to record the parts of the romantic leads, Gaylord Ravenal and Magnolia Hawks; and William Warfield, who had played Joe in the 1951 film version, repeated his role. Franz Allers conducted the orchestra, and the Merrill Staton Choir provided background vocals. The two leads provide a key to the sound of the recording. Raitt (of Carousel and The Pajama Game) and Cook (of Candide and The Music Man) were Broadway veterans of the 1940s and 1950s, and they tended to emphasize Show Boat's ties to the theater music of their era, rather than to its early 20th century operetta antecedents, especially because the arrangements were shaped to their vocal abilities. The result, oddly enough, was that this Show Boat sounded more like a musical of the 1950s instead of the 1920s, as if Richard Rodgers had been a big influence on Jerome Kern, instead ...
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$6.59 | | Passion Of The Christ CD (2004) Original Soundtrack
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Original score composed by John Debney.
The test of the mettle of any original soundtrack, particularly where an original score is present, is whether that music stands on its own apart from the film that inspired it. Composer and multi-instrumentalist John Debney's score for Mel Gibson's controversial film The Passion of the Christ is such an offering. It succeeds as a coherent, moving, well-executed musical statement whether or not one has seen the film. Nearly 55 minutes in length, it seamlessly flows from beginning to end, creating aurally panoramic soundscapes and textural vistas with masterful employment of percussion, folk instruments from many traditions, and Eastern-tinged harmonics. Solo and choral voices encounter the tension of an outside narrative, resolve, and even transcend it. The music here is not visionary, however, and that is not necessarily a criticism. It owes a great debt to Peter Gabriel's truly visionary soundtrack/score to Martin Scorsese's ...
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