Filmtracks Traffic Rank: #1,437
Written 10/10/99, Revised 6/13/08
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Buy it... if you often find yourself straying closer to the
classical crossover genre and recognize that this kind of concert work
often has little in common with the typical film score.
Avoid it... if restrained interpretations of traditional English hymns
and carols, as well as a diminished ensemble size, cannot compete with
the more explosively impressive concert works by other film music
composers.
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| Dudley |
Ancient and Modern: (Anne Dudley) As part of one of
the more eclectic careers in the digital age of film music, Anne Dudley
offered her debut solo album of concert compositions and arrangements in
1999, titled "Ancient and Modern." Already popular from her years with
the group The Art of Noise, with whom she had experimented with various
electronic techniques, Dudley received the Hollywood spotlight in the
1990's with her unique orchestral scores for such films as The Crying
Game, American History X, and The Full Monty, the last
of which garnering her a controversial (and commonly considered
undeserved) Academy Award. Her continuously growing talents with
classical and orchestral music, as well as a specific appreciation of
the works of J.S. Bach, inspired her to create this interpretive album
of orchestral melodies. Her intent was, in her words, to "raid the
treasure house" and "display willful eclecticism" with a distinctly
modern English tone. As a result, the title of the album is very true to
its contents. The music's foundation is built upon the foundation of
famous themes of classical and holiday origins, with interpretations of
international hymns mixed with a few of her own compositions. Unlike
other classically-inclined albums by well known film music composers
(and specifically the relevant Zbigniew Preisner "Requiem for my Friend"
concert work from earlier in 1999), the ensemble gathered for this
recording is not as overwhelming. This shouldn't come as a surprise
given that Dudley's film scores have never been known for their sheer
volume. A group of 50 players in the orchestra combines with 18 choral
members to create a cathedral ambience that is more intimate than most.
Many of the themes are those that listeners might recognize if familiar
with traditional English hymns and carols; some may recall melodies on
Christmas-related compilations they may own.
Dudley's interpretations vary greatly, and much of your
opinion of the album as a whole will depend on whether or not you accept
and enjoy the modern interpretations of these pieces. Some will
inevitably work better than others. The spirit of the first two pieces
is greatly restrained, lulling the listener into a relaxed state. The
mixture of percussion and piano in "Veni Emmanuel," when combined with
the chorus, is superb, and raises memories of similar interpretations
made by Cliff Eidelman. "The Holly and the Ivy," on the other hand, is
performed with entirely the wrong spirit, resembling a Philip
Glass-style of rhythmic pacing with a frantic electronic carnival tone
rather than recalling the classy piece that it is in traditional form.
The "Coventry Carol" builds to a stunning choral climax with pronounced
string solos, while the following interpretation of Bach's "Prelude" is
restrained and flat. The highlights of the album are the final three
tracks, titled "Three Chorales in Common Time," each offering the
strings, woodwinds, or chorus in the lead role. The latter two of these
tracks are especially powerful, with mixes that provide the orchestra
and chorus with additional depth. On the whole, Dudley's interpretations
are interesting (at the least), commendable (on the average), and
masterful (for three to four of the tracks). Her approach to the
traditional hymns and carols presents over an hour of noteworthy music
that largely defies the expectations that some will have based solely on
her more popular orchestral film scores. In general, however, Dudley
utilizes techniques that fans of The Art of Noise and her scores will
recognize, while riding the classical and choral wave to a new level in
her career. Because the work does not really feature one style or set of
motifs from start to finish, it's difficult to recommend this concert
work specifically to the film score collectors, but that should not
diminish the individual merits of "Ancient and Modern."
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