Years in the making! Elmer Bernstein fans place such high esteem on epic 1959 score that composer starts club in 1974, makes highlights from The Miracle the first of his own music to re-record. 26 minutes make it to second LP on his private label, but incredible wealth of powerhouse music including massive choral segments, battle music, entire Spanish elements of score remain unrecorded… until now! Over 90 minutes of actual soundtrack music spread over 2 CDs! Large-scale picture from Warner Bros. directed by Irving Rapper, starring Carroll Baker, Roger Moore is set during vibrant era of Napoleonic Wars in 1812. Religious story sees young postulant leaving convent to pursue love, adventure. As Teresa embarks on worldly adventures, statue of Virgin Mary assumes her place until she returns. Tale of faith, love, war and tragedy all inspire Bernstein to create lengthy, ambitious score in vein of legendary Ten Commandments score for Cecil B. DeMille. Massive chords launch work from outset, spotlighting great power of Church, faith.
It has taken eight years and over 130 CDs but FSM finally releases a score by the great Ennio Morricone: Guns for San Sebastian (1968), commonly known as a western but more accurately a historical adventure set in Mexico circa 1750. The film stars Anthony Quinn as an outlaw who is mistaken for a priest and protects a humble village against a violent tribe of Indians; Charles Bronson is the antagonist and Anjanette Comer the love interest. Filmed in Mexico, the international production is a sunburnt, action-packed look at a violent time in colonial Latin American history. The late 1960s were an especially fertile period for Ennio Morricone, whose prolific genius has enhanced hundreds of films for over 40 years. By 1968 Morricone had already scored the groundbreaking Dollars trilogy for Sergio Leone—establishing the revolutionary style for the "spaghetti" westerns—and Guns for San Sebastian preceded their western masterpiece, Once Upon a Time in the West.
Ken Burns presents the definitive portrait of America's great lady, in a program nominated for an Oscar and an Emmy. Follow the American icon's life, from creation by French sculptor Auguste Bartholdi through painstaking construction and accident-prone 1886 dedication. Interviews with ordinary Americans reveal the unique place the statue holds in our hearts.
Exciting, colorful and gigantic score for the fantasy film with special effects by Ray Harryhausen. Lengthy, spectacular re-recording features all of the music for Herrmann's various outlandish orchestral requirements, such as the huge brass section (including four tubas!) for the giant bronze statue Talos and multiple harps plus expanded woodwinds for the flying Harpies. Prepared from Herrmann's own original manuscripts and magnificently recorded in stunning detail. Bruce Broughton conducts the Sinfonia Of London.
Another of John Barry's smouldering, moody thriller scores (Body Heat etc.), the kind of thing he does with a good deal of charm and edgy romanticism. Naturally for his legion of admirers this will be a most welcome treat, although to be entirely frank it is not one of his most distinctive soundtracks. While it hits all of the expected marks with the required poise and professionalism it also lacks freshness and at times sounds a little too much like recycled material (which with this composer admittedly always remains polished and likeable). Given these general musings and vague criticisms we are still left with a valuable addition to the wealth of John Barry work now available, something that is to be appreciated and I am certainly not complaining. (MWI)