William T. Stromberg, Moscow Symphony Orchestra. Naxos 8.557706.
In my alternate life as Review Editor for DVDTOWN.com, I've gotten to watch a multitude of movies, old and new, over the years, more than I could ever have seen in a theater. And it always amazes how well some of the old film scores hold up as purely entertaining musical experiences compared to many of today's over-hyped, nondescript screen music. Little in the revved-up tunes of an Iron Man V, Transformers VIII, or X-Men X seems nearly so colorful or graphic to me as the music for a film like director Raoul Walsh's 1945 war saga Objective, Burma!, with Errol Flynn, James Brown, William Prince, and George Tobias.
Franz Waxman (1906-1967) was one of Hollywood's premier composers in the Thirties through Sixties. If Max Steiner or Erich Wolfgang Korngold didn't write the score, you could be pretty sure Waxman did, things like Bride of Frankenstein, Philadelphia Story, Suspicion, Sunset Boulevard, A Place in the Sun, Rear Window, Mister Roberts, The Spirit of St. Louis; you get the idea.
In the case of Objective Burma! (score restored by John Morgan), it isn't necessary to have seen the movie to enjoy Waxman's music because just a glance at the segment headings gives one a pretty good idea of what's going on, the music filling in the rest. Titles like "Briefing in an Hour," "Take Off," "Jumping," "Killing the Sentry," "Two Came Back," "Burmese Village," "Missing the Plane," "At Night," "Invasion," and "The Camp--Finale" pretty much tell the story in themselves. Then, with Stromberg's direction and Morgan's reconstruction, lo and behold, the music actually sounds like the pictorial images we envision, rather like a series of miniature tone poems, much of it march-based, of course. Waxman never composed music to sell soundtrack albums but to convey the nuances of every film he wrote for; it's hardly a clever or revolutionary concept, just a practical one that pays off.
Originally released in the Marco Polo line in 2000 and now on the lower-priced Naxos label, Objective Burma! has the kind of sound we have come to expect from this source, William Stromberg and the Moscow Symphony having produced so many other good film recordings for the company. While the sonics are a bit less than completely open or transparent, plus a little distant, there is some relatively good, realistic stage depth and imaging involved. The sound has a pleasant overall bloom, reminiscent of live music even if it's not perfectly detailed. Fans of film music will enjoy the disc.
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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