Search - Herrmann, National Philharmonic Orchestra :: Great British Film Music

Great forgotten scores!

A.G. Bassett | 07/23/1999

(4 out of 5 stars)

"The Hermann recordings on this disc are invaluable as a source for some of the forgotten contributors to film music, the British. Walton's overture to "Richard III" is rendered with with superb color and rumbustiousness. Lambert's "Anna Karenina" comes off hauntingly beautiful, as is Vaughn Williams' "49th Parallel." The scant two selections from Sir Arnold Bax's wonderful (and only) score to the 1948 David Lean adaptation of "Oliver Twist" is rendered a bit deliberately by Herrmann; but all of the wit, rich texture, and glorious animation of Bax's masterful composition is done justice. [Silva America has made a fuller recording of Bax's score--over 14 min. worth--on their recent "Great British Film Music Album," (taken from Kenneth Alwyn's sadly out-of-print complete recording) but unfortunately--as with Herrmann's recording--excludes "Oliver and the Artful Dodger," one of the score's most stirrng highlights.] Herrmann's rendition of Arthur Bliss' "Things to Come," however, is absolutely magnificent, perfect. Bliss' awesome score is inspiringly evocative, from it's ominous opening strains to it's wonderfully melodramatic Finale. Unlike most of today's film music, these are no mere "backgrounds," but dramatic utterances that stand up as classic compositions on their own! Other recordings along these lines also recommended, Rhino's Korngold compilation "Music From the Golden Age;" Koch International's recording of Herrmann's much underrated "Devil and Daniel Webster;" and Marco Polo's "Historical Romances - Korngold, Newman, Steiner.""

Rare music, worth every penny, awesomely played.

A.G. Bassett | 11/05/1998

(5 out of 5 stars)

"I admit that it was Bernard Herrmann's name conducting the National PO that got me interested in this disc. I knew Bennie had a thing for French impressionists (and conducted a few of their works), but where else did his interest lie? Why, the British impressionists, of course, so the inclusion of Bax's music from Oliver Twist is no surprise. But the star is Constant Lambert's music from Anna Karenina, music so achingly beautiful that it will haunt you for days (would you expect less from the composer of, no I'm not kidding, Mr. Bear Squash-you-all-flat). Less in the impressionistic mode are the usual suspects of British cinema/concert hall fame: Walton, Benjamin, and Vaughan Williams. Don't think you'll be listening to "background" music here. These men were not slumming and each piece stands perfectly alone without any visuals. This is exemplified by Arthur Bliss' Things to Come Suite, a score which cries out to get a full recording, but until then, Herrmann's reading is good to have. Sound quality is excellent from London circa 1975. Highly recommended. s"