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The Film Music of Georges Auric
The Film Music of George Auric
The Classical Shop
release date: September 1999
Originally recorded in 1998
New Broadcasting House, Manchester
Orchestral & Concertos
Film & TV Music
Total Time - 71:50
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The Film Music of Georges Auric
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Suite from 'Caesar and Cleopatra'
At the Sphinx
Suite from 'The Titfield Thunderbolt'
The Triumph of the Thunderbolt
Suite from 'Dead of Night'
Main Titles - Waltz - The Mirror - Finale
Suite from 'Passport to Pimlico'
The Siege of Burgundy
Finale and End Titles
Suite from 'The Innocents'
'O Willow Waly' - Main Titles
Coachride and Arrival at Bly
Suite from 'The Lavender Hill Mob'
The Eiffel Tower
Suite from 'Moulin rouge'
Suite from 'Father Brown'
Main Titles - The Robbery - The Cross of St Augustine
Train Journey to Fleurancy
Suite from 'It Always Rains on Sunday'
Main Titles and Opening Scene
Tommy and Rosie
Farewell and Getaway - Epilogue - End Titles
Overture from 'Hue and Cry'
Chandos launches a new label of classic film scores with an engaging selection of music from the Frenchman Georges Auric.
It may come as a surprise to many film enthusiasts to discover a collection of music from classic British films composed entirely by a Frenchman! And not just any British films, but some of the most fondly remembered and typically British films of the 1940s and 1950s, including several all-time greats from the studios at Ealing.
Of the ten film scores included in this collection, six are premiere recordings and two are premieres in this version.
Future releases, all from the world-class BBC Philharmonic, will include music from Alan Rawsthorne amongst others.
Auric’s first British studio commission was for Pascal’s ‘Caesar and Cleopatra’ (1945). Apparently Pascal had already approached Britten, Walton and even Prokofiev. Auric came at the end of this list. Auric’s ebullient musical interludes and impressive marches are the only bright spots of the whole production. While at Ealing, Auric was snapped up by Ernst Irving for ‘Dead of Night’ (1945), arguably the first great British horror movie, in which the nightmare montage finale is both a cinematic and musical classic. Auric was back at Ealing in 1946 for ‘Hue and Cry’, a good-humoured romp of villains, penny-dreadfuls and hoards of children chasing war-scarred London. ‘It always Rains on Sunday’ (1947) portrays twenty-four hours in the life of a damp London Sunday. By now a recognisable Ealing house-style was emerging, dealing with neighbourhood spirit, a little gentle rebellion and triumph, despite overwhelming odds. One of the most satisfying examples is ‘Passport to Pimlico’ (1949) where an austerity-battered neighbourhood is unexpectedly liberated from petty beaurocracy and rationing by a quirk of local history. ‘The Lavender Hill Mob’ (1951) involves the export of Eiffel Tower trinkets to France and gave Auric the chance to portray a Parisian scene. Huston’s sumptuous ‘Moulin Rouge’ gave Auric his most enduring international hit with the French waltz theme. Later that year Auric made his last trip to Ealing for ‘The Titfiled Thunderbolt’. For ‘Father Brown’ (1954), G.K. Chesterton’s tale of a modest Catholic Priest pitting his powers of detection against France’s master criminal, Auric displays his cross-channel versatility to its utmost. Auric’s last significant British film was ‘The Innocents’ (1961), a psychological thriller based on Henry James’s ‘The Turn of the Screw’. The opening title music, an adaptation of the usually innocuous folksong ‘O Willow Waly’, is particularly disturbing, and several musical moments, omitted from the final version of the film, have been restored for this recording.
From the gusto of the playing throughout it seems clear that the BBC Philharmonic enjoyed making this disc: understandably so.’
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