June 2002 Film Music CD Reviews

Film Music Editor: Ian Lace
Music Webmaster Len Mullenger

index page/ monthly listings / June /

Compilation: Classics of the (French) Cinema
Tous Les Matins du Monde, Farinelli, L’Acccompagnatrice etc  
  TRAVELLING NAÏVE K1607   [64:21]

Le Classique au Cinema

Tous Les Matins Du Monde (1991) - ‘Marche pour la cérémonie des Turcs’ by Jean-Baptiste Lully
Farinelli, Il Castrato (1994) - ‘"Alto Glove" (air d’Acio)’de l’opéra Polifemo by Nicola Porpora
Louis Enfant Roi (1992) - ‘Ballet d’Isis’ by Jean-Baptiste Lully
Le Colonel Chabert (1994) - ‘Kegelstatt Trio K 498 (Rondeaux allegretto)’ by Wolfgang Amadeus Mozart
Jeanne La Pucelle (1994) - ‘l’appel (Généeique I)’ by Jordi Savall
Le Joueur De Violon (1994) - ‘Chaconne (de la Partita en ré mineur BWV 1004)’ by Jean-Sébastien Bach
L’Accompagnatrice (1992) - ‘"Wiegenlied"’ by Richard Strauss
Tous Les Matins Du Monde (1991) - ‘L’Arabesque’ by Marin Marais
Jeanne La Pucelle (1994) - ‘Rondeau: La Trémouille’ by Jordi Savall
Farinelli, Il Castrato (1994) - ‘"Son qual nave ch’agitata" (air d’Arbace)’ de l’opéra Aetaserse by J.A. Hasse/Riccardo Broschi
L’ Écrivain Public (1993) - ‘Aria’ by William Sheller
Louis Enfant Roi (1992) - ‘"Overture"’ de l’opéra Pomone by Robert Cambert
L’Accompagnatrice (1992) - ‘"L’ho perduta" (air de Barberine)’ Les Noces de Figaro by Wolfgang Amadeus Mozart
L’Accompagnatrice (1992) - ‘Générique de fin’ by Alain Jomy

I find myself somewhat resistant of these kind of compilations, whether they be pop or as in this instance, classically based. As a marketing exercise it’s obviously a sound strategy, but personally I am interested in original music expressly written for film and while there may be many fine compositions that can be adapted for the screen, ultimately a collection like this is really only a case of packaging established classical work in an attempt to cash in on the cinematic connection. Allowing for these observations, this is not at all bad in purely musical terms and will certainly appeal to classical music fans, while perhaps leaving film music admirers less enthusiastic. And it is worth remembering that the two fields of appreciation don’t necessarily go hand in hand.

Mark Hockley


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