CD Booklet: LPO-0110 The Genius of Film Music 1980s-2000s

THE GENIUS OF FILM MUSIC Hollywood blockbusters 1980s to 2000s Including music from STAR WARS LA VITA È BELLA GLADIATOR THE MISSION INDIANA JONES

DIRK BROSSÉ conductor LONDON PHILHARMONIC ORCHESTRA

WILLIAMS Star Wars – Symphonic Suite John Williams (b. 1932) was critical in saving the great orchestral score from demise.

In the same way that Bernard Herrmann created terror out of screaming violins in Psycho, Williams had sent fear into swimmers everywhere with his score for Jaws. Two years later, the full-throttle high-speed explosion onto our screens of Star Wars (1977) confirmed him as that rare thing – a household-name composer.

over adversity’ true story of the British athletes Eric Liddell and Harold Abrahams at the 1924 Olympics was music from that period – a jazz soundtrack, for example. Vangelis’s unforgettable title music goes completely against that idea, yet its pulse and heroic melody fits perfectly the film’s themes.

HAMLISCH Sophie’s Choice – Love Theme

Star Wars is seen as ‘The One’ that brought symphonic scoring back to the forefront.

Its director, George Lucas, had wanted to use existing orchestral music for his sci-fi epic but couldn’t get the rights. Instead, Williams’s brilliant score draws on the music of Holst’s Planets suite to fit the film’s classic, epic themes. Its popularity continues today, winning a BBC poll as best film soundtrack ever.

In 1986, Marvin Hamlisch (1944–2012) said of film music trends: ‘The last ten years ... have been antisentimental ... finally the people went “Give me a break. I want sentiment.”’ His music to Alan J. Paluka’s heart-rending Sophie’s Choice (1982) was an early capture of the zeitgeist.

The pivotal moment comes when Polish woman Sophie is faced with a chilling choice: which of her two children will be sent to the gas chamber. The decision to lose her daughter haunts her for the rest of her life. Hamlisch’s ‘Love Theme’ is simplistically beautiful but ratchets up the emotional turmoil of the scene.

VANGELIS Chariots of Fire – Main Theme

MORRICONE The Mission – Gabriel’s Oboe

While John Williams was honing the score of his next big hit, Raiders of the Lost Ark, with full orchestral oomph, Greek composer Vangelis (b. 1943) was experimenting with a completely different route for Chariots of Fire (1981). What might have been warranted for the ‘triumph

Ennio Morricone’s (b. 1928) sense of the theatre and drama attracted him to director Sergio Leone, resulting in the extraordinary scores for the ‘Dollars’ trilogy – the vast cinema landscape of 1960s spaghetti westerns.

Twenty years later came The Mission (1986),

for which the London Philharmonic Orchestra recorded the original soundtrack. The film is as much about the power of music as the missionary’s story: Morricone cleverly used ethnic instrumentation and liturgical music for what was to become his own favourite score.

‘Gabriel’s Oboe’ has become a popular staple on the concert platform.

minutes. Badalamenti explained how it was done in the BBC Four series The Music that Made the Movies: literally, he improvised on his keyboards while Lynch explained the emotions he was after.

BACALOV Il Postino – Main Theme

Elmer Bernstein (1922–2004) was a fabulous symphonist, a great melodist and a rich orchestrator. His best-known scores are to adventure films like The Great Escape and The Magnificent Seven but, despite this, Bernstein much preferred working on ‘the more delicate films that deal intimately with people’s lives, like ... The Age of Innocence’. The Edith Wharton novel adaptation of 1993 witnesses an illicit love affair that causes scandal in high society New York at the turn of the 20th century. The score is full of yearning and conflict. Director Martin Scorsese explains Bernstein’s gift: ‘Elmer’s score had to adapt to the style and pace of the language ... We had no lengthy discussions about this, but [the score] flowed over the narration like a clear-running brook.’

The Argentinian/Italian composer Luis Enríquez Bacalov (1933–2017) also had a background in scoring for spaghetti westerns, and his 1968 song ‘Django’ was used as the title song for Django Unchained, directed by Quentin Tarantino. The beautiful soundtrack to Il Postino (1994) is far removed from those early movies. Harmonica and accordion add to the nostalgic feel of the music in this sweet romantic comedy.

BADALAMENTI Twin Peaks Suite – Laura Palmer’s Theme When David Lynch’s surreal peek under the cover of small-town decency, Twin Peaks (1990/01), became a cult television hit, the director approached his friend Angelo Badalamenti (b. 1937) to write the score.

It seems extraordinary that the slow and evocative theme music was written in just 20

BERNSTEIN The Age of Innocence Suite

ELFMAN The Nightmare Before Christmas Suite Danny Elfman (b. 1953) puts his hugely successful collaboration with Tim Burton down to the fact that they are ‘a couple of very odd

guys’. His style fits brilliantly with Burton’s wild, gothic and witty imagination. The Nightmare Before Christmas (1993), the bizarre but funny stop-animation film of Halloween Town’s Jack Skellington’s desire to adopt the ways of Christmas Town, is no exception. The suite features ‘Sally’s Song’, a plaintive sigh of unrequited love and the flashy ‘What’s This?’, Jack’s wide-eyed discovery of Christmas Town (sung on the original score in manic fashion by Elfman himself).

PIOVANI La Vita è bella Suite Nicola Piovani (b. 1946) has been writing predominantly for Italian cinema for over 40 years. His work has even been mistaken for that of Morricone composing under a pseudonym. Piovani, understandably, didn’t mind the association, but was glad to announce that he was real ‘flesh and blood’ when he won the Oscar in 1998 for La Vita è bella (Life is Beautiful).

GOLDSMITH Suite from Disney’s Mulan ‘Despite all the sophistication of our times, the greatest device remains the simple straightforward melody.’

Jerry Goldsmith’s (1929–2004) quote may come as a surprise to those who know his

avant-garde scores for Planet of the Apes (1968) and The Omen (1976). He experimented with electronic music in the 1970s and 80s, but by the 90s was merging synthesized sound with traditional orchestral music. Goldsmith the melodist can be in no doubt, and the score to Mulan (1998) is a testimony to his talent for creating beautiful themes. The tale of a young Chinese girl who becomes a warrior, Goldsmith’s bold soundtrack uses ethnic instruments and the pentatonic five-note scale of traditional Chinese music to create the soundworld. Powerful percussion and brass provide the battle backdrop and Mulan’s theme is an elegant, simple rise and fall tune, first heard in the wind. Listen out too for the sweeping love theme.

DAVIS The Matrix Reloaded Suite The music by Don Davis (b. 1957) to The Matrix trilogy (1999–2003) is an out-of-thisworld combination of the electronic and the orchestral. It stood out from the crowd for its move away from strong melody and its references to minimalism, a form developed in the 1970s by composers including Steve Reich. Its predominant features are repetition, a relentless pulse and static harmony – listen to the hard-working scurrying strings, military side drums and ominous brass blast of the opening. It has a suitably futuristic feel.

ZIMMER Gladiator Suite

Publishers: Hal Leonard MGB // Warner/Chappell North America Ltd (CD 1 T. 1-3; CD 2 T. 8) EMI Music Publishing Ltd (CD 1 T. 4) Sony ATV Music Publishing (UK) Ltd (CD 1 T. 5; CD 2 T. 7) BMG VM Music Ltd (CD 1 T. 6) Sugar Songs UK Ltd (CD 1 T. 7) Universal/MCA Music Ltd (CD 1 T. 8; CD 2 T. 6) Bernal Music / Ole (UK) (CD 1 T. 9) Universal Music Publishing Ltd (CD 1 T. 10; CD 2 T. 5) Kobalt Music Publishing Ltd (CD 2 T. 1-4)

A hugely successful film composer, Hans Zimmer (b. 1957) has come a long way since his early days in the 1980s when he was earning a living by composing such ‘classics’ as the theme tune to quiz show Going for Gold!

Interestingly, he runs a synthesizer-packed studio with a team of composers – shades of the old Hollywood studio system. He freely admits he’s ‘not a great player but a good programmer’. A great classical music lover, he says the music to Gladiator (2000) was inspired

by Holst’s The Planets and by Wagner. The ‘Elysium’ theme, however, is all Zimmer and no one can deny its ethereal quality.

The LPO is grateful to Dirk Kokx (CD 1 T. 4), JoAnn Kane Music Service (CD 1 T. 5), Paul Bateman (CD 1 T. 6), Nic Raine (CD 1 T. 7; CD 2 T. 7–8), Themes and Variations (CD 1 T. 9), Disney Concert Library (CD 1 T. 10; CD 2 T. 5), Studio Piovani (CD 2 T. 1-4), Angelo Badalamenti (CD 1 T. 8) and Don Davis (CD 2 T. 6) for the loan of their arrangements.

Programme notes © Sarah Breeden ‘Suite from Disney’s Mulan’ Score by Jerry Goldsmith Songs by Matthew Wilder and David Zippel Orchestrated by Alexander Courage 1998 Wonderland Music Co., Inc. (BMI)

LPO-0086

‘Tim Burton’s The Nightmare Before Christmas Orchestral Suite’ Music by Danny Elfman Arranged by Mark McKenzie 1993 Buena Vista Music Company (BMI)

Enjoy more film music on the LPO label.

Visit lpo.org.uk/recordings.

The Genius of Film Music Hollywood Blockbusters 1960s–1980s Highlights from The Godfather, Psycho, Lawrence of Arabia and more.

DIRK BROSSÉ conductor Dirk Brossé, born in Ghent, Belgium, has worked all over the world as a conductor and composer. He is currently Music Director of the Chamber Orchestra of Philadelphia and of Ghent Film Festival and professor of composition and conducting at the School of Arts / Royal Conservatory of Music in Ghent.

John Williams chose him as Principal Conductor of the ‘Star Wars in Concert World Tour’.

He has composed some 400 works, including concerti, oratorios, lieder, chamber music and symphonic works. He has also composed extensively for cinema, television and stage, for films including ‘Boerenpsalm’, ‘Koko Flanel’, ‘Daens’, ‘The Lovers’ and ‘Knielen’ and television including his score for the BBC/HBO series ‘Parade’s End’ which was nominated for an Emmy Award.

He has made more than 90 CD recordings and has collaborated with world-class artists such as José van Dam, Barbara Hendricks, Alison Balsom, Salvatore Accardo, John Williams, Toots Thielemans, Hans Zimmer, Elmer Bernstein, Emma Thompson, Kenneth Branagh, Randy Crawford, Mel Brooks, Sinead O’ Connor, and

Maurice Jarre. He has worked with directors Stijn Coninx, Frank Van Laecke, Susanna White and Roland Joffé, and with writers Gabriel García Márquez, Seth Gaaikema and Didier Van Cauwelaert.

He has conducted many top orchestras, both at home and abroad. Amongst them, the London Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic, Vancouver Opera, Opéra de Lyon, Hong Kong Chinese Orchestra, l’Orchestre de la Suisse Romande and the Philharmonic Orchestras of Brussels, Antwerp, Rotterdam, Basel, Madrid, Porto, Birmingham, Ulster, Shanghai, Hong Kong, Seoul, Queensland, St Petersburg, Los Angeles and Boston.

Dirk has been awarded the title Cultural Ambassador of Flanders, the Flemish Parliament’s Gold Medal for Merit, the Achille Van Acker Prize, the Joseph Plateau Honorary Award and the Global Thinkers Forum Award for Excellence in Cultural Creativity. In 2010 Dirk Brossé was made an honorary citizen of Destelbergen. In 2013 he was elevated to Belgium’s hereditary nobility, with the personal title of Knight. He is a member of the Royal Flemish Academy of Belgium for Science and the Arts.

LONDON PHILHARMONIC ORCHESTRA The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its presentday position as one of the most dynamic and forward-looking ensembles in the UK. This reputation has been secured by the Orchestra’s performances in the concert hall and opera house, its many award-winning recordings, trail-blazing international tours and wideranging educational work.

Founded by Sir Thomas Beecham in 1932, the Orchestra has since been headed by many of the world’s greatest conductors, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski was appointed the Orchestra’s Principal Guest Conductor in March 2003, and became Principal Conductor in September 2007.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has been Resident Orchestra since 1992, giving around 30 concerts a season. Each summer it takes up its annual residency at Glyndebourne Festival Opera where it has been Resident Symphony Orchestra for over 50 years. The Orchestra performs at venues around the UK and has made numerous international tours, performing to sell-out audiences in America, Europe, Asia and Australasia.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download and stream online. lpo.org.uk

© Benjamin Ealovega / Drew Kelley

THE GENIUS OF FILM MUSIC: HOLLYWOOD BLOCKBUSTERS 1980S–2000S

CD1 54:12

01 02 03 04 05 06 07 08 09 10

13:21 05:40 04:33 03:08 03:37 04:57 03:49 04:35 08:10 07:25 08:18

WILLIAMS Star Wars Symphonic Suite i. Main Title ii. Princess Leia’s Theme iii. Imperial March (Darth Vader’s Theme) VANGELIS (arr. D. Kokx) Chariots of Fire – Main Theme HAMLISCH Sophie’s Choice – Love Theme MORRICONE The Mission – Gabriel’s Oboe BACALOV (arr. N. Raine) Il Postino – Main Theme BADALAMENTI (orch. K. Landrum) Twin Peaks Suite – Laura Palmer’s Theme E BERNSTEIN (orch. Emilie Bernstein/P. Russ) The Age of Innocence Suite ELFMAN (arr. M. McKenzie) The Nightmare Before Christmas Suite

CD2 42:30

11:55 01 04:27 02 01:59 03 02:18 04 03:11 05 07:28 06 09:32 07 08:17 08 05:18

PIOVANI La Vita è bella (Life is Beautiful) Suite i. Buongiorno principessa ii. Grand Hotel Fox Trot iii. La fuga iv. Il carrarmato GOLDSMITH (orch. A. Courage) Suite from Disney’s Mulan DAVIS The Matrix Reloaded Suite ZIMMER (arr. N. Raine) Gladiator Suite WILLIAMS (arr. N. Raine) Indiana Jones and the Raiders of the Lost Ark – Raiders March

DIRK BROSSÉ conductor

LONDON PHILHARMONIC ORCHESTRA

Vesselin Gellev leader

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London LPO – 0110