Williams: The Very Best Movie Soundtracks (CD review)

Evan Christ, Philharmonisches Orchester des Staatstheaters Cottbus. Telos Music CD TLS 210.

Founded in 1908, the Philharmonic Orchestra of the State Theater Cottbus in Brandenburg, Germany dates back more than a hundred years. Today, under its energetic and relatively youthful Music Director, American Evan Christ, the ensemble plays a wide variety of music, from Bach to Mahler and beyond. In 2010 they performed their first concert of tunes by John Williams to sold-out audiences. The present album gives you some idea why.

Spanning a career that so far covers over sixty years and includes over forty Oscar nominations, American composer, conductor, and pianist John Williams (b. 1932) has become probably the most-popular writer of orchestral music in the world. I would be willing to bet that more people worldwide recognize and admire his scores for such films as Jaws, Star Wars, E.T., Superman, Indiana Jones, Jurassic Park, and Harry Potter than they do most anything by Mozart or Beethoven. Understand, I'm not suggesting that Williams is a better composer than Mozart or Beethoven, only that possibly more people have heard Williams's orchestral music than any other. My guess is that, at the least, in a hundred years people may still listen to Williams's orchestral output more than they do any other twentieth-century composer. But that's speculation on my part, and probably not relevant to anything in particular.

Anyway, Christ and his Cottbus orchestra play segments from all the soundtracks named above, with the Olympic and Liberty Fanfares thrown in for good measure. So what sets these interpretations apart from the 800 other recordings of John Williams's music? I'd say it's mainly the enthusiasm of Maestro Christ, which one can feel throughout the program. Also, it's the obvious sensitivity of the conductor, his feeling for nuance, tension and release, as, for example, expressed in his readings of the scores for Jaws and Superman, which come off sounding more serious, more important, than they often do. Sometimes this sensitivity comes at the expense of the utmost degree of excitement and thrills, but that's the price you pay. It's what sets Christ's renditions of this familiar music apart from the rest. You take what you get.

Evan Christ
I'm not sure why Christ felt the need to include the two fanfares in an album titled "The Very Best Movie Soundtracks by John Williams" since to my knowledge neither fanfare featured in a motion picture. Still, it's nice to have them, and I suppose they give the program a touch more gravitas. A listener just might not find them as well known as the other material.

Saving the best for last, Christ gives us a rousing version of the Star Wars title music, among the best you'll find by anyone anywhere.

Overall, though, this is probably not music you need to hear again, as most folks have at least a few albums with the most popular John Williams scores on it. But if you want a good all-around selection of Williams's most-celebrated tunes, certainly Christ's album fills the bill.

Balance engineer Hans-Ulrich Holst and recording director Joachim Krist made the album in 2014 at what I assume to be the orchestra's home hall. Although the sound is a bit more resonant and distanced than you usually hear, it provides for a lifelike seating position and fairly well emulates a real-life concert-hall listening experience. Highs glisten; mids are a bit soft; deepest bass is rather shy; orchestral depth is good; and dynamics seem about average. Overall, the sound slightly favors the high end, yet it isn't especially bright or edgy; it could just use a little more bass substance and warmth.

JJP

To listen to a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
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.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa