Subject: I have found a CD that I think you would enjoy
|Cliff Eidelman, Royal Scottish National Orchestra|
Romeo and Juliet: Music Inspired by Shakespeare
Genres: Pop, Soundtracks
Eidelman & Shakespeare!
John Dziadecki | Louisville, CO USA | 10/06/2004
(5 out of 5 stars)
"Very fine sampling of some outstanding Shakespearian film scores ranging from Prokofiev and Shostakovich to Rozsa and Doyle with points in between. Closing out the program is Eidelman's 16 minute tone poem written for "The Tempest"! This is a excellent disc!
With his track record, I can't understand why Eidelman doesn't get blockbuster assignments."
A very pleasing and varied program
Stuart M. Paine | Arlington, VA USA | 10/17/2008
(5 out of 5 stars)
"When I think Shakespeare film music, I recall the Bernard Herrmann/National Philharmonic Orchestra album on London Phase 4 Stereo, MUSIC FROM GREAT SHAKESPEARE FILMS, which featured five tracks from Shostakovich's HAMLET, three from Rozsa's JULIUS CAESAR and the immortal Prelude to RICHARD III by Walton. This 1997 Cliff Eidelman/Royal Scottish National Orchestra album on Varese Sarabande has that Walton Prelude, two of the Shostakovich tracks (I particularly like the panicked "Duel and Death of Hamlet") and a processional, "Caesar Now Be Still", from Rozsa's 1953 score.
Also here are:
* the Prologue from Walton's HENRY V with its famous fanfare and a dance so authentic in aspect that one would swear it had come from one of Respighi suites, "Ancient Airs and Dances";
* a sublime 6:41 suite from Nino Rota's score to the 1968 Zeffirelli film masterpiece, ROMEO AND JULIET, and two selections from the Prokofiev ballet, including the powerfully imposing "Montagues and the Capulets";
* four very short (and unusual) brass fanfares by Alex North,
and some music not yet written when Herrmann recorded his London LP:
* a few cues from Patrick Doyle's initial score for Kenneth Branaugh, HENRY V, his buoyant Overture to MUCH ADO ABOUT NOTHING, and finally, "The Tempest", a 16:34 3-movement tone poem by the conductor, Cliff Eidelman. That last work has its moments of urgency, particularly at the outset, around the 6:00 mark and again at 13:20, but is generally broad and patient and requires an intent listener.
I like this CD - opulent sound from the RSNO, nicely shaped by Mr. Eidelman. Incredible cover art, too, by Matthew McPeak."