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10 of 10 people found the following review helpful:
5.0 out of 5 stars
One of the Great Film Scores in a Splendid New Recording, 22 Feb 2005
This is a reissue at budget price of a glorious recording of this score done for Marco Polo ten years or so ago. Georges Auric (1899-1983) was one of 'Les Six' and is usually considered as one of the lesser of them. Part of the reason for this, I suspect, is that he turned to composing film scores--he wrote scores for 40 French, 40 American, and 15 British films (the latter including 'Passport to Pimlico' and 'The Lavender Hill Mob')--rather than concentrating primarily on concert works. But this score, for one of the most famous films in history -- Jean Cocteau's 'La Belle et la Bête' ('Beauty and the Beast') which starred Josette Day as Beauty and introduced Jean Marais as Beast/Prince -- is a masterpiece, plain and simple. I've always hoped that the score might be adapted as a ballet, which might give it greater currency. But Auric's score was lost, only to be found in the early 1990s by the present conductor (and film score maven), the single-named Adriano. Some music that had been cut from the film is recorded here, but basically this is what one hears when viewing the film. In the film it was conducted beautifully by the great Roger Desormière but the film's sound, from 1946, is nothing compared to this current performance in modern sound. We are indeed fortunate to have a modern recording of this lushly romantic music.The score, running about an hour, contains twenty-four musical cues. Auric's style, a kind of romantic impressionism, is based largely on that of the Impressionists, mostly Ravel. His use of wordless chorus (both open- and closed-mouthed) is reminiscent of the latter's 'Daphnis et Chloë,' but there are also Debussyan spots, as in 'Les couloirs mystérieux' ('Mysterious corridors') with its blurry harmonies. Auric's orchestration is among the most brilliant and inventive in all of film music history. Some cues are scored like chamber music (e.g., 'Dans la chambre à coucher' ['In the bedroom'] or 'L'attente' ['Waiting']) for reduced strings without double basses. Others are brilliantly scored for large orchestra, including a multitude of tuned percussion (glockenspiel, vibraphone, xylophone, celesta, piano). A real tour de force. In an act of misbegotten homage, Philip Glass composed an opera to run WITH the film, with the sound turned off (which, of course, meant that not only Josette Day's and Jean Marais's distinctive voices went unheard, but Auric's score was muted). It is SO nice to have a modern recording of the music that really goes with the film. Needless to say, Adriano and the Moscow Symphony Orchestra do a marvelous job. In case you couldn't tell by now, this is a rave recommendation for both the music and the recording. TT=62:08 Scott Morrison
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