Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett



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  • Greenfingers - Handel - 'La Réjouissance' from 'Royal Fireworks Music'
  • The Others - Chopin - ''Farewell' Waltz'
  • The Man Who Cried - Purcell - 'Did's Lament' from 'Dido and Aeneas'
  • Rat Race - Grieg - 'In the Hall of the Mountain King' from Peer Gynt'
  • Billy Elliot - Tchaikovsky 'Scene (Swan Theme)' from Swan Lake
  • Captain Corelli's Mandolin - Verdi - 'La Donna é mobile' from 'Rigoletto'
  • Original Sin - Schumann - 'Von Fremden Ländern' from 'Kinderszenen'
  • S1m0ne - Fauré - 'Pie Jesu' from 'Requiem'
  • House of Mirth - Haydn - ''Lark' Quartet (3rd movement)'
  • Me, Myself and Irene - Mendelssohn - 'Wedding March' from 'A Midsummer Night's Dream'
  • xXx - Mozart - 'Finch' han dal vino (Champagne Aria)' from Don Giovanni
  • Hannibal - Johann Strauss II - 'Blue Danube Waltz'
  • Ocena's Eleven - Debussy - Clair de lune
  • Bridget Jones's Diary - Handel - 'Hallelujah Chorus' from 'The Messiah'
  • Minority Report - Schubert - ''Unfinished' Symphony (1st movement)


21st Century Cinema Classics
HANDEL (1685-1750) La Réjouissance; Capella Istropolitana/Warchal (from Naxos 8.550109); and Hallelujah Chorus from 'Messiah' (from Naxos 8.553290); CHOPIN (1810-1849) 'Farewell Waltz' Idil Biret, piano (from Naxos 8.554539); PURCELL (1659-95) Dido's Lament, Kym Amps, soprano/Scholars Baroque Ensemble (from Naxos 8.553108;) GRIEG (1843-1907) In the hall of the mountain king from Peer Gynt, BBC Scottish SO/Jerzy Maksymiuk (from Naxos 8.554050); TCHAIKOVSKY (1840-1893) Scene from Swan Lake, Russian State SO/Yablonsky (Naxos 8.5553042); VERDI (1813-1901) La donna e mobile from Rigoletto. Yardy Ramiro, tenor with Slovak Radio Symphony Orchestra/Rahbari from (Naxos 8.553042); SCHUMANN (1810-1849) Vom Fremden Landern from Kinderscenen, Jeno Jando from Naxos 8.550784; FAURE (1845-1924) Pie Jesu from Requiem, Lisa Beckley soprano, Oxford Camerata/Summerly (from Naxos 8.550765); HAYDN (1732-1809) 'Lark' Quartet Movement 3, Kodály Quartet (from Naxos 8.550674); MENDELSSOHN (1809-1847) Wedding March from Midsummer Night's Dream Slovak Philharmonic Orchestra/Bramall (from Naxos 8.554433) MOZART (1756-1791) Champagne Aria from Don Giovanni Bo Skovhus, baritone, Nicholas Esterhazy Sinfonia/Michael Halasz (from Naxos 8.660080-2); Johann STRAUSS (1825-1899) Blue Danube Waltz, Slovak Philharmonic Orchestra/Wildner (from Naxos 8.554520). DEBUSSY (1864-1918) Clair de Lune, François-Joel Thiollier, piano (from Naxos 8.553290). SCHUBERT (1797-1828) Unfinished Symphony 1st Movement. Slovak Philharmonic/Halasz (from Naxos 8.550145)
NAXOS 8.556698 [74.52]

There are some very clever marketing managers in Naxos's headquarters who are constantly thinking up the next, new compilation 'wheeze' to make as much money out of already recorded music as possible. Best of luck to them, perhaps the profits are being ploughed into their enterprising ‘21st Century Modern Classics’ or 'Japanese Classics'; series which are slower sellers. Anyway here is another compilation.

Quite possibly the idea came from the fact that one of the tracks the 'Pie Jesu' from Fauré's Requiem in this very recording by Naxos was used in the film 'S1mOne' (sic). This led to the idea of taking fifteen recent films for which 'classics' were used (instead of commissioning a new score) and putting them together using their own extensive archive.

Film is only a rather weak hook on which to hang a group of unrelated movements from well known classics. However it serves, as with so many of these kinds of disc, as a potentially useful introduction for listeners who are aware of music in film and who want to discover what they enjoyed. The disc can act as a vehicle for finding out something more about the music, to make connections and to discover other pieces used. The booklet has a useful format which explains the philosophy behind the presentation.

Let's take the film Hannibal which was released in 2001. First we are given a promotional quote "He's a man after your heart". We are given the director and the cast, followed by a succinct and clever resume of the plot. Then we are told the title of the piece we are listening to which is used in the film, in this case Strauss's 'Blue Danube' Waltz. We are informed that other music used includes the 'Aria' from Bach's Goldberg Variations. Then we are told in what other films this music has been used. We can hear the Strauss in 'Anywhere but here’ (1993) and the Last Emperor (1987) as well as ten others that are listed, most famously in '2001; A Space Odyssey'.

If you are a film buff then this information could be interest. Sadly I am no film buff. In fact I have hardly seen any of the films mentioned in these lists. As a musician I find myself amazed at the diversity of films which have used 'The Blue Danube'. That also applies to the 'Hallelujah Chorus'. The famous Handel chorus has it seems been used in 'Man on the Moon' and 'Runaway Bride' (both from 1999). I have seen these films and I am I think ashamed to say that I cannot remember where Handel pops up in either. Oh dear. Is this my fault? Or does it show how anesthetized we have become to background music and soundtracks?

It is unnecessary and inappropriate for me to comment in detail on the performances, but I will just say that all are perfectly acceptable and some like the Haydn quartet movement are very good and beautifully played. The recording quality is fine with no adjustment needed to the volume between the tracks.

Gary Higginson


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