Othello

Of all the younger composers around today, I think one would be hard pressed to find one who has more of an idiosyncratic style than Elliot Goldenthal. His music is almost instantly recognisable, the way he orchestrates is perhaps the most striking feature, although there are plenty of thematic and harmonic mannerisms that are evident after just a brief sampling of music. While film composers have been held in low regard by so-called serious concert hall composers, many concert composers have at one time or other contributed some of their music to the silver screen. One of these is Goldenthal's mentor, John Corigliano who has won acclaim for his score to Altered States and the addition of an Oscar for The Red Violin has raised his profile. Of course, Goldenthal is primarily a composer of film music, although with assignments such as Demolition Man and Batman and Robin, one can't help but feel he should spend a little less time at the scoring stage and more time in the concert hall.

This recording of Goldenthal's ballet version of Othello is one of the better known of his concert pieces and it is remarkably accesible. Given how difficult some of his film music is to listen to, it would be only reasonable to suggest that boundries of dissonence might be pushed further, but this is only occasionally the case. There are similarities with his film music, but the freedom to develop ideas as he sees fit gives for a wider range of expression as well as more invention. The first act is perhaps the most diverse, the opening Sarabande being a feather light introduction of the main theme (such that it is), but this soon gives way to a somewhat Herrmann-esque Entrada with huge brass chords making for bracing listening. An almost atonal style is attained at times, but the music still generally retains a sense of direction. Despite the title, the Formal Court Dance doesn't have much of a sense of formality about it, but has a more intense and angry quality, growling brass are once again the order of the day.

The second act is made up of two much longer movements. The Storm and Ship's Arrival starts with ascending string scales, around which other scales are built up which results in several minutes of very turbulant writing. The rest of the movement hints at these earlier motifs, but takes on an almost fairytale quality that is quite enchanting. Anyone who enjoys Goldenthal's film music will find much to savour and even casual listeners (myself included) will certainly find much of it thrilling and a good way to start accessing modern music, but without having to listen to endlessly tuneless drivel which often passes for classical music these days. The performance by the San Francisco Ballet Orchestra is superb and the recording is essentially perfect, balancing crispness and clarity to hear everything, but without it sounding like the microphone has been placed inside every single instrument. Minor quibbles aside, Goldenthal proves that he has more talent than many of today's younger composers put together and has written a fairly stupendous piece of modern ballet.