The Young Indiana Jones Chronicles - Volume 4


Colosseum (4005939542122)
Varèse Sarabande (0030206542127)
Película | Fecha de lanzamiento: 1994 | Medio: CD
 

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# Pista Artista/Compositor Duración
Ireland 1916
1.Welcome to Ireland Laurence Rosenthal5:12
2.Maggie Laurence Rosenthal5:17
3.Fight in the Bakery Laurence Rosenthal2:11
4.The Uprising Laurence Rosenthal5:29
5.A Terrible Beauty Laurence Rosenthal4:35
 
Indiana Jones and the Phantom Train of Doom
6.Welcome to Africa! Joel McNeely1:04
7.The Wrong Way Train Joel McNeely2:05
8.Veldt Voyage Joel McNeely1:39
9.The 21st Royal Fusileers Joel McNeely2:16
10.The Old and the Bold Joel McNeely2:22
11.Tally Ho Joel McNeely3:21
12.Chasing the Phantom Train Joel McNeely3:55
13.The Phantom Train of Doom Joel McNeely8:07
14.The Caper Continues Joel McNeely2:15
15.The Native Battle Joel McNeely2:34
16.Indy Hijacks the Balloon Joel McNeely4:15
 
Northern Italy
17.Romantic Adventures Laurence Rosenthal6:42
18.Love and War Laurence Rosenthal3:49
19.Deserters Laurence Rosenthal1:10
20.Spaghetti Laurence Rosenthal1:50
21.The Bridal Gown Laurence Rosenthal1:49
22.Arriverderci Indy Laurence Rosenthal3:39
 75:36
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The Young Indiana Jones Chronicles - Volume 4 - 08/10 - Crítica de Tom Daish, Publicado en (Inglés)
The fourth and so far final album of Young Indy scores combines two more romantic and jovial efforts with one more outlandish and rousing score. Rosenthal's Ireland 1916 is pretty much what might be expected from a score featuring touches from the Emerald Isle. In fact this is more authentic sounding than your average Hollywood Irish score which these days tends to sound like James Horner's Uillean Pipes and wordless vocals efforts. However, Rosenthal has based his music around some traditional folk melodies and this gives it a more authentic flavour than simple imitation. As much of it is dance like, the orchestrations are generally light and playful. Only during Fight in the Bakery does it become a little more serious although it still retains a more playful edge. Later selections include snippets of A Soldier's Song which eventually became the Irish national anthem. This is even more fitting when on reading the notes it seems that the story revolves around Indy's friendship with Sean O'Casey who eventually became the Irish Prime Minister. An enjoyable effort that fans of John Williams' lovely score to Far & Away are sure to enjoy.

The centrepiece of the album is certainly McNeely's exuberent score for The Phantom Train of Doom. This is the longest suite from any installment, which in this case was an epic two part story. It would be fair to suggest that this is about as close as Young Indy got to his adventures in the feature films. As befits an action outing of this kind, Joel McNeely's score pulls out all the stops with the central Phantom Train of Doom track being a great mixture of the Williams' desert and tank chases from Raiders and Last Crusade. McNeely's music comes very close to Williams' music and that does make one feel that the Raiders March might just appear at any moment. Later tracks such as Indy Hijacks the Balloon make liberal use of ideas from Hook and yet more of the original Indiana Jones film music. I suppose it was unavoidable that one episode would require the music to be rather closed to the originals than normal. I'm sure McNeely was strongly steered in this direction as well. He does acknowledge the influence of both Williams and Korngold in his notes, which is very pleasing indeed.

Indeed Korngold is thanked as the inspiration for McNeely's rousing march for the Old and the Bold which is a jolly and upbeat march, perfect for the old soldiers it represents. It is used quite liberally when something heroic happens and provides a nice melodic centre gives some extra cohesion to the music. As the story is set in Africa, there are a few ethnic percussion sections, most notably the opening Welcome to Africa and the Native Battle. I admit that this isn't exactly McNeely's most original composition, but it is still entertaining and his more original sections sit more than happily against the sections which mimic Williams' undeniably brilliant compositions.

After his excursion to Spain in a previous episode, Rosenthal returns to the Med with Northern Italy in another romantic, yet humerous escapade. Liberal helpings of mandolins give the appropriate atmosphere in a way that echoes Rota's classic scores for the Godfather movies. In between the romance there is the somewhat more dramatic Love and War which features some heavier brass writing, percussion and shimmering strings. Rosenthal's slightly absurd sense of comedy brings a touch of Rossini for Spaghetti which is a playful, yet dainty passage that accompanies a boorish orgy of spahetti eating. Thus demonstrating that making things funny doesn't mean one should play up the comedy, rather to write something so sublime that the counterpoint to the image makes it a lot more amusing. A Rota-esque piece of of melodrama is used in Arriverderci Italy to conclude this final installment.

Another enjoyable blend of adventure, romance and comedy that epitomised both the movies and the enjoyable junior offspring. Rosenthal and McNeely clearly had great fun writing these scores, but with the wide diversity of stories and locations it is not difficult to see how they were so readily inspired to write music far and above what might be expected. There are of course plenty of other scores for Young Indy including several by other composers. It can only be hoped that at some time we might be able to hear some of these, but until that time praise should be given to Varese for the lavish presentation for all the scores and the generously long albums and the excellent sequencing that provides a generous taster of each exciting episode.


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