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Review of Cinema's Classic Romances (Compilation)
FILMTRACKS RECOMMENDS:
Buy it... if you've typically enjoyed the original scores for film
adaptations of William Shakespeare, Thomas Hardy, and Jane Austen
works.
Avoid it... if you expect all of Silva Screen's releases of music recorded in Prague to feature the robust action and adventure performances with which they made their fame in the late 1990's.
FILMTRACKS EDITORIAL REVIEW:
Cinema's Classic Romances: (Compilation) In the
height of their initial explosion of popularity in 1997 and 1998, the
Silva Screen label and the players of The City of Prague Philharmonic
quickly gained a positive reputation for their impressively resounding
performances of Hollywood's most robust action, adventure, and science
fiction scores. Paired with the superior sound quality offered on all of
their albums, these massive renditions were among the best film music
compilations anywhere on the market at the time. In their second year of
full-time activity for Silva, they began to expand from that base of
action material and marketed a few albums with softer, more
classically-inclined selections. This made sense for Silva, for their
compilations --despite being film music based for the most part-- were
gaining notice in the classical market, especially in regards to their
first "Cinema Choral Classics" album. So, in 1998, Silva emphasized the
more romantic side of soundtracks with a distinctly lighter tone in
"Cinema Choral Classics II" and a romance-only compilation called
"Cinema's Classic Romances." This album, which failed to muster the same
enthusiasm from buyers as the label's other genre-based series of
releases, combined significant modern themes from films along the
William Shakespeare, Thomas Hardy, and Jane Austen line of thought with
a handful of themes from older generations of similar adaptations. These
kinds of compilations had, at the time, a longer history of attempted
performances by ensembles, especially considering the market for
elevator music variants on popular film music themes. These compilations
were typically lifeless, drab, uninspiring renditions from second rate,
40-person orchestras.
As is always the case with The City of Prague Philharmonic, this album contrasts that stereotype with fully charged and vigorous performances featuring their trademark advantage of size. Additionally, this product avoids the pitfalls of compilations that simply perform instrumental versions of popular songs in films. These cues are entirely based on film score themes rather than songs. The compilation opens with a competent performance of Gabriel Yared's subdued desert theme for The English Patient, likely included here because of the score's Oscar win. The two subsequent Patrick Doyle cues are significantly contrasting; Much Ado About Nothing's grand and comical title theme, perfectly symbolizing the mischievous deceit of the film, rattles the windows with its brass. The 1996 score for Hamlet is, on the other hand, more sincere in its transition to the tragedy realm. The final choral cue was unfortunately not selected for inclusion, though Silva would satisfy us with its performance on "Cinema Choral Classics II." Rachel Portman's Oscar-winning score for Emma is adequate here, though the ensemble loses some of that chipper playfulness that Portman exerts in her original recordings. Traveling back to Alfred Newman, Wuthering Heights revisits a time of extremely lush and varied strings. Nino Rota's Romeo and Juliet is much more robust, with a climactic Broadway-style theme; a lengthy suite is included, spanning four segments from the original score. The next track is the only grossly misplaced one on the product; Trevor Jones' Last of the Mohicans has an incredible theme, a fan favorite from the 1990's, but is more epic than romantic. Anyone who associates the film with the extraction of bodily organs rather than flirtation will have equal troubles with its appearance, and the percussion in the performance is given an overbearing mix. Ilona Sekacz's score for Mrs. Dalloway had been receiving good press at the time due to its popular album release. The main and end title cues will be reminiscent of Rachel Portman's music of the era. Ennio Morricone's dull score for the Mel Gibson Hamlet is nowhere near as rich as Doyle's interpretation. The Twelfth Night track that follows is the original recording from the score (available because Silva owned the rights to it and the Prague ensemble performed it). The ominous rhythmic motif at its outset betrays the album's fluffiness, but it's a decent score worthy of inclusion. Sense and Sensibility is performed with the same delicate touch as the Hamlet cue prior. Phillipe Sarde's highly percussive Tess opens with a motif that James Horner fans will undoubtedly recognize as inspiration for his Klingon music in 1984's Star Trek III: The Search for Spock. It's not necessarily the best thing to hear on a compilation like this, but the more diverse instrumentation does break of up the traditional style of album's flow and provides a distinct curiosity in the middle of the product. Carl Davis' sweeping theme for Pride and Prejudice is far more genuinely classical, with impressive piano solos. The best cue from Thomas Newman's strong score for Little Women is unfortunately not represented here. Finally, a lengthy and mildly enjoyable suite from Far from the Madding Crowd is included. Overall, though, the product's first half easily outshines the latter half. With 30+ strong minutes out of the 75-minute product, there's enough material to warrant interest. The quality of sound on the album is on par with other Silva compilations of the time. If you're a fan of the Shakespearean genre of music in particular, you'll be impressed by Prague's usual high standard of performance. ****
TRACK LISTINGS:
Total Time: 75:32
NOTES & QUOTES:
The insert notes are in great depth, as per usual for Silva's compilations.
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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Cinema's Classic Romances are Copyright © 1998, Silva Screen Records and cannot be redistributed without the label's expressed written consent. Page created 2/27/98 and last updated 8/7/07. |
