It is Venice, 1900, and Fenella is engaged to composer Caryl Dubrok until she hears that an unmarried woman named Gemma and child is staying with a composer named Dubrok. So the engagement is off and so is she for the mountains. There she meets and is intrigued by Sebastian, but she does not know that he is the composer that Gemma is staying with. When she learns about him, Gemma demands that she choose but Fenella cannot so Gemma and Sebastian leave to be married. They go to England to write his Ballet and Caryl and Fenella are re-engaged. But Fenella still loves the fun-loving Sebastian.
Although it may be surprising, there are still enough hidden treasures in the not excessively long catalogue of Korngold's film music; some of them for sheer oblivion, some other for its difficulty to be found. We already mention on our review of the Rhino double CD The Warner Bros Years, the fact of the allegedly disappearance of Another Dawn (1937) original masters, what marked it the only unavailable title of the Korngold/Warner relationship. This gap is now covered thanks to the efforts of arranger and composer John W. Morgan, in a new demonstration of patience and love for a music; submitted to the avatars of fate, this forgotten score for the forgotten William Dieterle film includes, curiously, one of the more well-known themes of his author, the one he used later on the beginning of his famous Violin Concerto, op.35. Korngold's usual symphonic and thematic unfolding, still on his first steps inside the movie business, with some so personal musical gestures which more than mahlerian are unmistakable viennese, finds a nice complement on the programmatic ballet composed for Escape Me Never (1947), the last of his collaborations with the Warners which saw the public light -although, really, it was composed before Deception (1946)-, a colourful work yet to be uncovered on its whole, which after its naive and scarcely original plot includes the only popular song composed by Korngold (Love for Love), as well this terrific musical fantasy, nicely rounded by Morgan because on the film it was abruptly interrupted. As a counterpoint, and without losing value his work, once again there is the lack of a bit of passion on Stromberg's baton, as it happens on The Prince and the Pauper, but this is one of those cases on which the importance of the music is far above the rest.Review by bs magazine
After the success of the first volume of Walton's film music, producer Christopher Palmer switches focus from Shakespeare to the theme of war. Of course, the justifiably famous "Spitfire Prelude and Fugue" is an obligatory inclusion. Assembled from Walton's music for First of the Few (1942), a biopic about aircraft designer R. J. Mitchell, "Spitfire" was an immediate concert hall success and is presented here in a grand performance. The enterprising Palmer also assembled "A Wartime Sketchbook," a world premiere compendium of selections from The Foreman Went to France (1941) and Next of Kin (1942).
On a cliff top above a small town in eastern Germany stands one of the most potent symbols of the Second World War. This grim l6th Century castle is Colditz, the most notorious prisoner of war camp in history. With its imposing walls and rigorous policing, Colditz was seen as the ultimate prison.