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.

Tis the season, for award announcements.  The Foreign Press announced this morning their picks for film and television excellence.  Well, if we are honest, it is a list of usually good films with high star power because in the end, the broadcast of the Golden Globes is all about who you can get to come to the show.

Coming into the end of the year, with very few scores to think about as "best" even yet, I was interested to see what might make this list.  Sometimes, though not often, the Foreign Press Association has picked film scores that might have been missed by American film music lovers.  More recently that happened with the music for Girl with a Pearl Earring with a beautiful score by Alexandre Desplat that only a very few film music critics had had a chance to hear that December.  But slowly into the following year that score began to move to the top of reviewers lists. 

Given the paucity of uninspiring films, I expected some blockbuster type nominees.  As wild guesses, I thought maybe Lust, Caution (Desplat) might have a chance, maybe the last Elizabeth film (Armstrong, Rahman) given the cast and composer favorites here.  The group choosing these selections does not often pick animated offerings, so Ratatouille, which I think is one of the better scores this year, did not have a chance.

Here then are the picks announced today, in alphabetical order:

Atonement (2007), Dario Marianelli:  Of the group one of the two better scores, but this is a score that is essentially a repeate of Pride and Prejudice--still a lot of fun to listen to on its own and a likely winner since this is one of the 7 nominations (though I think these may go to the acting category only).

Eastern Promises (2007), Howard Shore:  A ubiquitous entry?  The famous composer nomination?  Or perhaps a friendly nod to a favorite of the Foreign Press.  While this is an interesting Shore score, it really does not do much for me.  It kind of combines Shore's more popular Lord of the Rings style with his standard underscoring ideas, interesting but I do not think this one will pop up again.

Grace is Gone (2007), Clint Eastwood:  A score I haven't heard, but can it really be any different from any of Eastwood's other scores?  He does have a penchant for remarkably simple musical ideas that recede into the background of his film music, and this film has been receiving positive buzz, but there are plenty of better choices to take its place here.  Sorry, Clint, can't make your day....

Into the Wild (2007), Michael Brook, Kaki King, Eddie Vedder:  Another score I have not yet heard but, the announcement spelled Vedder's name wrong, oops...  And this is a score that can't get recognition with the Academy due to its multiple composers.  Most likley to win as a result...plus it gives the show a chance to see Vedder perform.

The Kite Runner (2007), Alberto Iglesias:  Though overlooked for his scores to many of Almodovar films, and even the Oscar-nominated The Constant Gardener, Iglesias receives his first nomination by the Foreign Press.  A higher possibility of receiving an award here due to its ethnic blend of music and the fact that this actually is one of the better scores of the year.

Of this slate, I think only The Kite Runner has a chance of making it to a nomination from the Academy, maybe Atonement has a chance as well.  Personally I am still pulling for Zodiac (Shire) and Giacchino's score.