The 2011 PROMS have been going for nearly a week now, and tonight we are in for a real treat with the Hallé orchestra performing under the baton of Sir Mark Elder. This month, we are offering 25% off the entire Hallé back catalogue on the Classical Shop. Since the orchestra launched its own CD label in 2003, it has gone from strength to strength. Among the label's many triumphs is Elgar's Violin Concerto with Thomas Zehetmair as soloist, which won a Gramophone award in 2010. Another of Hallé's many award-winning recordings is Götterdämmerung by Richard Wagner. The Daily Telegraph wrote of a performance of this work by the Hallé orchestra: "The orchestra, re-inforced for the occasion to more than 100 and with enough harps on-and-off stage to restock Paradise, responded with world-class playing." A must have for your collection!
Thursday, 21 July 2011
This month, amongst hundreds of new downloads available on TheClassicalShop.net, you will find some wonderful film music by Michael J. Lewis. Its quality makes one wonder why film music is still regarded, in certain quarters, as the Cinderella relation of classical music.
Yet who would be without the score by William Walton to Henry V, or the magnificent tune he wrote for Went the Day Well? If Walton was one of the greatest composers of film music – if not the greatest of them – there are all those giants in Hollywood. Korngold, for example, was a child prodigy, comparable to Mozart and Mendelssohn. At the age of twenty-three he was at the height of his fame as a composer of operas and orchestral music, yet his film music eclipsed all his stage and concert works. Conversely, the orchestral music of Miklós Rózsa is now beginning to eclipse his film music. And one has to mention Bernard Herrmann, whose musical voice is every bit as distinctive and easily recognisable as that of Tchaikovsky, Debussy, or Beethoven (Chandos will release his striking cantata Moby Dick later this year).
Later, more populist composers, such as the inimitable Henry Mancini (his Pink Panther theme must be one of the most recognised tunes the world over), and the even funkier Lalo Schifrin (his Bullet score makes one feel as cool as Steve McQueen), offer a wealth of fun and frolics at the lighter end of the scale. Today’s blockbuster scores by John Williams and Patrick Doyle and the like are hardly negligible and also have the advantage of exposing younger audiences to the sound of a symphony orchestra.
Perhaps film music is more susceptible to the changes of fashion and thus tends to date more quickly than ‘serious’, classical music (though the passage of time helps to diminish this effect). To ignore film music and be snobbish about it is to close your ears to some of the most imaginative and rewarding music written over the last century.
In the 1973 film Theatre of Blood (music by the aforementioned Michael J. Lewis), a hammy Shakespearian actor (wonderfully played by Vincent Price) takes revenge on all his unappreciative critics by dispatching them to their ghoulish deaths. Whilst we are unlikely to suffer such a fate for not fully appreciating film scores, we will undoubtedly be the poorer for not giving this rich genre our full attention.