Yes, I am avoiding work today....

As luck would have it another great little compilation disc appeared Monday as well for review.

Early on in Silva’s compilation history they released a series of discs featuring music for films by a specific director.  After recent series of film music compilations for various composers which featured older and newer recordings, it appears they are turning to this other style for the present release featuring about 60 minutes of music from 12 Tim Burton films, only omitting music from Planet of the Apes and Big Fish.  That means that Elfman fans will get a chance to hear concert versions of music from his work for Burton.

The disc opens with four selections from last year’s Sweeney Todd beginning with a superb performance of the “Main Titles” complete with chorus and an opening organ.  The other three selections are instrumentals of “No Place Like London,” “A Little Priest,” and “Johanna.”  There is less of a break between these selections suggesting a kind of “suite” concept here.  It would be interesting to know if these are Sondheim’s arrangements, or Jonathan Tunick’s (or even Alex Heffes for that matter).  Still, these are all fantastic, convincing performances, that feel like very artsy pops performances that are shaped musically and with great conviction.

The same holds true for the “Christmas Eve Montage” from The Nightmare Before Christmas sounding like a fuller concert version close to that of the original soundtrack itself.  There are some snippets of songs in this little excerpt but it is more a fun action sequence to shift gears after the Sondheim selections.  The “End Credits” from Sleepy Hollow allow for a brief view into that score.  I was intrigued by how the “Finale” of Charlie and the Chocolate Factory would play out, but it is essentially a subdued, and unfortunately uninteresting musical overview.  Perhaps it was wise to not try concert versions of the many songs which were one of that film’s highlights.  Also included here is music from Howard Shore’s score to Ed Wood (the “Main Titles” complete with theremin) which serves as the penultimate track on the disc sandwiched between Pee Wee’s Big Adventure and Mars Attacks!.

Most of these recordings are brand new featuring James Fitzpatrick on the podium.  A third of these are recordings with Nic Raine conducting (music from Batman—a 12-minute suite, and essentially main titles from Mars Attacks!, Edward Scissorhands—with the “Ice Dance” include; and Beetlejuice).  The selections from The Corpse Bride (the solo piano music “Piano Duet/Victor’s Piano Solo”) and Pee Wee’s Big Adventure (the delightful “Breakfast Montage” not far from the original) are performed by something called the London Music Works.  Though many of the selections are taken from the ending or opening credits, each piece works as a wonderful overview of the scores which they come from coupled with what is some of Elfman’s best music.

Though arrangement credits are missing, the booklet includes the publishing information for the music being performed which appears to come from the studio publishing houses.  The presentation here is not in chronological order, but actually works superbly to provide great contrast musically.  The music from both Batman and Batman Returns are together making for a quarter hour of music from these two Elfman scores, the latter adds in some choral work and mostly features the march Elfman wrote for the first film but still provides good contrast to the larger suite which preceded it.  The booklet includes a brief essay by Music from the Movies’ Michael Beek and includes brief paragraphs about each film represented on the disc.  This is overall one of  Silva’s best compilation releases since their Harry Potter disc last year.

A "Music from the films of Charleton Heston" appears to be on the horizon as well.

Though today's mail is a few hours away, anything super exciting that would appear there would get a notice here anyway.  As with the end of each month, here are my picjs for 5 discs "new to my personal music library."  Unlike some months when the recommendations feature older catalogue releases, this month all the selections are 2008 releases and four of the five are film music related.

First off is the third volume of music from the classic sci-fi series Farscape.  I got hooked on this series after reviewing music on La-La Land's previous releases of music by Guy Gross and this latest volume features a lot more tender music than some of the previous ones did.  It allows us to hear a different side of Gross' musical approach as his music moves to a deeper integral core for the characters.  It is a fabulous presnetation.

For those wondering what ever happened to Danny Elfman, you get a chance to pick up a first-rate action score released this month.  Wanted is all the things we like from Elfman minus the la-la choruses.  The action cues here are amazing, thematic ideas are extremely engaging, and there is a bit of the composer melding the sound of his past with new approaches.  The orchestration here shows a newer command of instrumental color as well.  THis was reviewed earlier in the month so check that blog entry for more detail.

Fans of Shostakovich will want to locate this economical and quite full presentation of the complete score to Alone (Odna).  Naxos has created here one of the best re-recordings of non-American film music yet with superb performances and a detailed booklet that really helps one understand this music.  This is Shostakovich minus some of the extreme atonal writing but with occasional flashes of sardonic wit.  The orchestration is crystal clear throughout.  This was the film score that Shostakovich decided to write in smaller musical segments, having learned from The New Babylon that a film can get recut and destroy your intent.  Highly recommended!

The Hyperion label is always exploring unusual territory in often superb renditions.  Their massive piano concerto series continues to be a highlight of the catalogue for those interested, or perhaps tired, with another retread of a classical warhorse.  The label has embarked on a series of recordings of Martinu's works for violin.  Volume one featured a couple of different concerti, but the second volume is really a great place to start.  It features a fabulous concert for violin and piano from 1953 that is quite accessible and wonderfully performed.  The disc opens with a typical neo-Baroque chamber work for violin and piano that is interesting (it was originally written for Paul Sacher).  Christopher Hogwood is on the podium and manages to direct sensitive and impassioned readings of this music.

Finally, hands down one of the best scores of the year is Thomas Newman's Wall-E.  I would find it hard to believe that we won't see this as one of the five Oscar-nominated scores come next January.  As The Good German did in exploring Hollywood's Golden Age, Newman's approach here takes a page from 1950s Herrmann science fiction scoring.  There is plenty of comedic underscore with several signature sounds from Newman's dramatic narrative style.  Thematic ideas help warm the characters and this score works wonderfully in a film that is likely to be considered one of the masterpieces of the Disney canon. 

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On a completely different note, I realized it had been ages since hearing Resphigi's Roman trilogy--the 3 large tone poems, Pines of Rome, Roman Festivals, and Fountains of Rome.  Do yourself a favor and pop this in your player this week.  It is gorgeous music from one of the great orchestrators of teh 20th century.  Resphigi may be just a footnote in music history, but these pieces are real orchestral showpieces.