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Editorial Board
Classical Editor
Rob Barnett
Seen & Heard
Editor Emeritus
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   Stan Metzger
MusicWeb Webmaster
   David Barker
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   Len Mullenger

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The 5 Browns In Hollywood
Star Wars Suite, for 5 pianos (after John Williams) by Greg Anderson [9:39]
The 5 Browns
To Kill A Mockingbird: Main Title by Elmer Bernstein [3:03]
Deondra Brown (Piano), Desirae Brown (Piano)
Over the Rainbow, suite for 5 pianos (based on themes from The Wizard of Oz by Harold Arlen) by Greg Anderson [8:20]
The 5 Browns
Solace (1909) by Scott Joplin [7:09]
Gregory Brown (Piano)
Three Waltzes for 5 Browns (Disney Movie Medley), for 5 pianos by Greg Anderson [7:26]
The 5 Browns
The Hours: Morning Passages (2002) by Philip Glass [5:45]
Ryan Brown (Piano)
The Sound of Music: My favorite things (1959) by Richard Rodgers [2:49]
Melody Brown (Piano)
Atonement: Theme [4:45] by Dario Marianelli
The 5 Browns
Catch Me If You Can: Opening Credits (2002) by John Williams [2:41]
The 5 Browns
Romeo and Juliet: A Renaissance Timepiece (1968) by Nino Rota [3:29]
Desirae Brown (Piano), Deondra Brown (Piano)
Hitchcock Movie Suite, for 5 pianos (after Bernard Herrmann) by Patrick Russ [7:49]
The 5 Browns
rec. October 2009, Skywalker Sound, Nicasio, CA

Experience Classicsonline

The Five Browns are back, in entertainment mode Ė filmic style. As if to reinforce the fact the jewel box credits are printed movie style, in a type so vertiginous that I have now taken my eyeballs into the dry cleaners for some tender remedial work. So much for verisimilitude, fellers.

This disc is of film soundtrack music, generally though not exclusively mediated by a clever intermediary. There are Browns a-plenty to do the honours, from a solitary Brown to a phalanx of five. So we start with Star Wars in a suite version arranged by Greg Anderson. The Imperial March is a thunderous creation, one of John Williamsís most grandiloquent inventions but the full complement of five Browns pay as much attention to the vamping Ragtime theme and to the lyrical, chordally powerful material elsewhere. Strangely, aspects of the writing sound almost Rachmaninovian when played by the pianos.

We are assured plenty of contrast. The brief title music from To Kill A Mockingbird is a study in refined tracery, whilst Anderson returns for Over the Rainbow, a suite for all five pianos based on themes from The Wizard of Oz. Itís in effect a kind of fantasia in barnstormer late nineteenth-early twentieth century style, the kind of thing that virtuoso performers churned out for their own use. Itís sassy and has plenty of brio. Heís also arranged a Disney medley of tasty favourites. The solitary Joplin piece doesnít really flow, its tango elements being rather overdone.

Philip Glassís music for The Hours has been arranged by Michael Riesman and Nico MŁhly and even in this version for single piano it manages to cast its allure. Stephen Houghís My Favorite Things is here, played by Melody Brown; the arranger has also recorded it, and itís becoming better known as a pleasing concert encore. The arresting opening credits music for Catch Me If You Can comes with sassy finger clicks; Williams is so superb a film composer that his taut, immediate themes survive transposition and arrangement. Another great such composer, Nino Rota, contributes his Romeo and Juliet music Ė beautifully lyric. To end we have excitement pure and simple Ė Herrmann/Hitchcock

The playing has vigour and panache. The recording is notably well balanced. Itís a tricky disc to recommend however; you need to be into both the medium and the message.

Jonathan Woolf



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