| | Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances CD Camden / Mills CDS
Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances Music | List Price | $12.99 (You save $2.50) | | Label | Jdid | | Orig Year | 5/23/2005 | | All Time Sales Rank |  44692  | | CD Universe Part number | 6879260 | | Catalog number | 4767595 | | Discs | 1 | | Release Date | May 23, 2005 |
Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances Review
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Purchase Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances To buy, Click on price to add to cart | Casa Guidi - Frederica Von Stade Sings Argento / Oue, Et Al CD (2003)
Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances
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Frederica Von Stade,Mezzo Sop- Rano/Eiji Oue,Minnesota Orch.
| | BBC Philharmonic Orchestra Film Music Of William Alwyn, Vol. 3 CD (2005) (Import) United Kingdom
Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances
$16.65
William Alwyn was far better known as a composer from the concert hall than in films, despite his having scored close to 200 movies across a four-decade period that included the Golden Age of British cinema, from the early '40s to the start of the '50s. That this is the third volume of his film music is mightily impressive, though realistically one could get to six or seven CDs without running short of great music or film titles to draw upon. Starting with the "Suite from 'The Magic Box'," you're immersed in his work's odd mix of rich lyricism and unusually spare but haunting writing for winds, but you also get an example of his gift for writing striking fanfares, resembling the work of Sir William Walton. Alwyn's lighter side is represented by the elegant "Waltz from 'The Million Pound Note'" and the "March from 'The Way Ahead'," his darker side with the harrowing "Ride from 'The Rocking Horse Winner'." His music for the Disney Swiss Family Robinson seems a bit superficial surrounded by these other works, but displays not a bit less craftsmanship, and the CD's closing selection, the "Suite from 'The Running Man'" (referring to the 1962 Carol Reed movie, not the more recent Schwarzenegger vehicle) -- the last score that Alwyn wrote -- demonstrates that he was still writing complex, serious, and at times quite beautiful film music when the subject demanded and justified it. Forty years into his work in this field; alas, the producers found Alwyn's main title theme to be too old-fashioned, and replaced it with a more modern sounding theme by Ron Grainer, with the result that this CD offers the first proper airing of the original composer's original main title music, in company with three other sections of the score that were used intact in the original film release. The recording by Rumon Gamba and the BBC Philharmonic is first-rate, in keeping with their work on this entire series of film music releases from Chandos, and the annotation contains a wealth of detail abo
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Mills: Aeolian Caprices, Soundscapes For Percussion & Orchestra, Seaside Dances
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GOLDSMITH CONDUCTS GOLDSMITH includes themes from THE BLUE MAX, DOCTOR KILDARE, THE MAN FROM U.N.C.L.E., THE WALTONS, MASADA, GREMLINS, THE SAND PEBBLES, CHINATOWN, POLTERGEIST, PAPILLON, THE WIND AND THE LION, PATTON and LEGEND.
All tracks have been digitally remastered in Dolby Surround and HDCD by Gareth Williams (SRT, Cambridge).
Film composer Jerry Goldsmith conducted Britain's Philharmonia Orchestra in a concert of his music at the Barbican Centre in London on March 10, 1987, and on the following day went into a studio and recorded a version of the show with them. It is an interesting redaction of the work of this prolific writer which seems designed to defeat some of the critical notions about him. Basically, the rap on Goldsmith is that, emerging in the dying days of the studio system, he was a composer of highly functional music who swept away the influences of European classical music from Hollywood in favor of a versatile, eclectic approach to scoring that served the images without calling attention to itself and without having the stamp of an individual voice. As such, Goldsmith wouldn't seem like the kind of composer who would have an evening of music devoted to him, unless there was a big screen hanging over the stage. But from the beginning, this album contradicts such an idea, and it's probably no accident that it does so by starting with a five-part suite from The Blue Max, an uncharacteristically ambitious score that was drastically cut in the finished film. Elsewhere, there are suites of television themes and movie themes that are nearly unrecognizable from their sources and a few other major efforts, notably the TV miniseries Masada and "The Generals Suite" drawn from MacArthur and Patton. This is a highly selective assembly that, for example, ignores Goldsmith's sole Oscarâ winner, The Omen, but it makes the point that, somewhere in his vast catalog, there are powerful individual statements not entirely enslaved to film images. ~ William Ruhlmann
W/Philharmonia Orch.Themes Fr: Chinatown,Poltergeist,Legend +
/Philharmonia Orchestra.
Recorded at Walthamstow Assembly Hall on March 11, 1987.
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