Also, The Beast with Five Fingers; The Lost Patrol. William Stromberg, Moscow Symphony Orchestra. Marco Polo 8.223870.
This is not a soundtrack album. Thank goodness. I remember coming out of a big, THX-equipped movie theater recently and finding that my ears were ringing from the overloud, over-bright sound. Later in the week I noticed a newspaper ad for the CD of a particular movie soundtrack, exclaiming that the digitally remastered sound was "just like in a theater!" No thank you. It wasn't that I couldn't have enjoyed the movie's sound if it weren't so loud or bright; I just didn't want it sounding like that in my living-room stereo system. The fact is, movie-theater sonics belong in a movie theater, where their glaring, aggressive noises do the most good, not in my music room.
By contrast, Max Steiner's film music on this Marco Polo CD, played by the Moscow Symphony, sounds like just what it is: movie music played by a real orchestra in a live setting. It's a relief to hear it after going to the movies as much as I do and listening to so much deafening soundtrack music. End of rant.
Max Steiner (1888-1971), often regarded as the "father of film music," came to Hollywood in 1929 and registered his first big hit with King Kong (1933), which was among the very first films to use an extensive, original musical score specific to the movie. Then Steiner went on to do practically every big picture the Warner Bros. studio made in the Thirties, Forties, and Fifties, finally slowing down and finishing his career in the early Sixties.
If the opening bars of The Lost Patrol (1934) remind you of Casablanca (1942), you'd be right. Steiner did the Bogart film just eight years later, and there's much the same flavor here. The music for The Beast with Five Fingers (1946), on the other hand, Peter Lorre's hand to be precise, is lurid and melodramatic; it was one of the only horror films Steiner ever scored. But the real gem is the Errol Flynn movie, Virginia City (1940), filled with melodies that might have made Aaron Copland envious.
The music for all three films, arranged, restored, and reconstructed by John Morgan, fits into suites of twenty or more minutes each, and they provide a good cross section of the scores Steiner produced for almost four decades in Hollywood.
Marco Polo's sound is quite natural, maybe a little distant and a little soft on detail but delivering good depth and imaging. The album makes an attractive deal for movie buffs as well as music lovers, and it provides a welcome antidote for listeners whose heads are throbbing from typical movie soundtracks.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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