| フォーマット | CDアルバム |
| 発売日 | 2001年10月23日 |
| 国内/輸入 | 輸入 |
| レーベル | Silva America |
| 構成数 | 1 |
| パッケージ仕様 | - |
| 規格品番 | 1134 |
| SKU | 738572113421 |
構成数 : 1枚
合計収録時間 : 00:56:40
This is a new digital recording of the complete score to THE LAST VALLEY.
Original score composed by John Barry.
Performed by City Of Prague Philharmonic Orchestra, conducted by Nic Raine; Crouch End Festival Chorus, conducted by David Temple.
Recorded at Smecky Studios, Prague, Czechoslovakia and Sony Music Studios, London, England in April & July 2001. Includes liner notes by James Fitzpatrick.
Liner Note Author: James Fitzpatrick.
Recording information: Smecky Studios, Prague, Czech Republic (04/2001-07/2001); Sony Music Studios, London, England (04/2001-07/2001).
Editor: Gareth Williams.
The little-known 1971 film The Last Valley was one of those big failures moviemakers sometimes concoct, a six-million-dollar production (a lot of money at the time) starring Omar Sharif and Michael Caine, set during the Thirty Years' War, and concerning a valley left untouched by the conflict, until the commencement of the plot. Given the time of its release, the film's analogy to the Vietnam War was clear, but novelist-turned-director James Clavell seemed to intend something more like the broad canvas of his lengthy historical novels, with lots of characters and subplots, not so much an allegory as an epic. John Barry, in the wake of his Academy Award for The Lion in Winter, was the composer of choice for such a costume drama, even if the story took place 500 years later. According to James Fitzpatrick, who produced and annotated this new recording of the score, Barry was given six months to write, luxurious for a movie composer. Clearly, he felt his assignment was to create a big score for a big adventure movie, and especially on this recreation, which runs more than 18-and-a-half minutes longer than the original soundtrack album, that intention seems fulfilled. The Crouch End Festival Chorus intones German and Latin texts in an updated Gregorian chant mode, and elsewhere there are stirring, martial passages for the action sequences and warm, lush, pastoral themes for the quieter moments. Noted film critic Pauline Kael spent a surprising amount of space castigating the score, but her main point was that it was, in a sense, too good for the film it accompanied, if only because The Last Valley was not the gigantic cinema experience it was intended to be. That wasn't Barry's fault, and this recording does him a service by rescuing one of his better scores from obscurity. ~ William Ruhlmann
読み込み中にエラーが発生しました。
画面をリロードして、再読み込みしてください。