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Classical

Hollywood Soundstage

Hollywood Soundstage
Hollywood Soundstage
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Based on the consistent rave reviews he has received for his recent series of Chandos classical recordings, John Wilson has become an important conductor and recording artist, especially in England. I have generally felt that his recordings are good, but not invariably sensational. For example, his highly regarded interpretation of the Korngold Symphony fundamentally changes the nature of the work, and not necessarily for the better. The Marc Albrecht Pentatone version is preferable. Now, Wilson has turned to the Golden Age of Film Music in a recording reminiscent of the RCA Classic Film Score Series conducted by Charles Gerhardt. The main difference is that Wilson chooses multiple composers with different styles where Gerhardt frequently concentrated on recordings featuring a single composer. Wilson’s repertoire choices for the principal works are excellent, including The Private Lives of Elizabeth and Essex instead of The Adventures of Robin Hood (Korngold), Rebecca instead of Sunset Boulevard (Waxman), Now, Voyager instead of Gone with the Wind (Steiner), and “Street Scene” from How to Marry a Millionaire (Newman). He also plays a suite from Herbert Stothart’s Oscar-winning score for The Wizard of Oz. The haunting theme from Laura (Raksin), the Main Title music from The Sandpiper (Mandel), and two minor excepts from My Fair Lady (Loewe) essentially function as fillers.

The competition with Gerhardt could hardly be more formidable musically or sonically in the major works. The Private Lives of Elizabeth and Essex Overture is a well-constructed summary of the thematic material from the score that would work well as the opening work in a concert. The music contains brass fanfares, a march, and surging Romantic themes that are typical of Korngold. Waxman’s score for Rebecca features most of the same music as Gerhardt does, but it is billed as a premiere recording because Wilson uses the original orchestrations. The music is dominated by the haunting principal theme that is played by a lushly Romantic full orchestra in the prelude, followed by a mysterious soft, central section for alto flute solo, then by massed brass in a finale that is overwhelming as only Waxman can be.

Both Wilson and Gerhardt include a suite from Now, Voyager, which is arguably Steiner’s greatest score from the 1940s Warner Bros.’ dramas. They are both extremely well played, but Wilson’s suite is preferable because it contains over twice as much excellent music. After hearing this arrangement, it is not hard to sense Wilson’s commitment to this score. The Wizard of Oz is an orchestral suite from Stothart’s Oscar-winning score, though rest assured that it does contain references to “Over the Rainbow.” Did it deserve to win the 1939 Oscar over Steiner’s Gone with the Wind? Certainly not, but it is good to have a recording of the music from the score.

The Chandos SACD is excellent in every way. The fact that it is competitive sonically and interpretively with the RCA Gerhardt series is the highest possible complement.  This recording is required listening for any serious fan of dramatic film music.

Tags: CLASSICAL MUSIC

By Arthur Lintgen

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