Gormenghast


Sony Classical (5099708913526)
Série TV/Film de TV | Date de sortie: 10/01/2000 | Sortie du film: 2000 | Type: CD, Téléchargement
 

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# Track   Duration
1.Song of Titus3:41
2.Celebration1:02
3.Cat Room1:13
4.Burning the Library2:38
5.The Christening2:45
6.Fuchsia & Steerpike4:41
7.The Sisters1:31
8.Fuchsia & Lord Groan4:17
9.The Madness of Lord Groan2:35
10.The Death of Swelter3:55
11.The Earling1:58
12.Keda1:10
13.The Sisters in Prison2:18
14.Freedom1:19
15.In the Forest2:45
16.Irma's Romance2:20
17.The Carver's Ceremony2:50
18.The Death of Barquentine2:43
19.The Red Room5:00
20.Sarabande for the Sisters2:30
21.Ceremony in the Rain1:22
22.The Death of Steerpike5:06
23.Fuchsia's Funeral3:43
24.Farewell to Gormenghast2:01
 65:22
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Gormenghast - 08/10 - Critique de Tom Daish, ajouté le (Anglais)
The BBC's much heralded small screen version of Mervyn Peake's strange and somewhat surreal fantasy wasn't nearly the success it should have been. I am not familiar with Peake's works, but by all accounts this certainly the first major attempt to turn one of his books into live action. The cast includes hordes of top British actors, but portrayed such strange and often irrational characters that it is difficult to become drawn in to any great extent. The production was certainly impressive, even if the limitations of the television budget (large though it must have been) are quite apparent far too often. It has been suggested that possibly a only a director with the visual flair of Terry Gilliam could perhaps have pulled it off totally successfully. Into the mix are two of the UK's top concert composers, Richard Rodney Bennett and John Tavener. I am not terribly familiar with the work of either of them, although a few ideas in Bennett's work do seem familiar.

Song of Titus kicks of proceedings; set to Peake's own peculiar lyric this is beautifully performed by Andrew Johnson and while a little unusual is quite captivating. Celebration (a version of which also serves as the end title to each episode) is a suitably heraldic trumpet fanfare and contains the sections which seem most familiar to me. However, after this the music is a little more hit and miss. The ensuing few tracks don't really do very much or go anywhere. They are filled with mysterioso tension and angst and a little beauty, but have few real highlights. Only the more vigorous brass outrages during The Death of Swelter does it start to pick up a little. This is followed by a short and peculiar section of Tavener's choral music which sounds like it will explode into something truly impressive and demonic at any moment, but in fact just features a very peculiar orchestral middle passage and then more of the same chanting before fading away.

After the none too exciting first third, the variety and imagination of the remainder really is quite impressive with several superb passages. Keda takes fragments of the Celebration fanfare and slows them into something a little more restrained, while Irma's Romance is accompanied by a luscious waltz. Tavener's music again rather off the wall, albeit the orchestral passages which the most peculiar, featuring as they do, woodwind trills that have a somewhat oriental sound. The death scenes certainly come rather frequently and the Death of Barquentine is dynamic and very dramtic, again featuring some wonderful brass writing. The Red Room and Sarabande for the Sisters are similar in character to the earlier cues but have much greater direction and as a consequence work a great deal better. The final few tracks bring the work to a dramatic close, the Death of Steerpike (which appears to be incorrectly labelled as by Tavener and think it should be Fucshia's Funeral marked as such) once again bringing trumpets to the fore. Perhaps even better is the utterly gorgeous Fuchsia's Funeral which rivals John Williams' equally breathtaking funeral music from The Phantom Menace. Farewell to Gormenghast sounds like it will become a grand farewell, but actually becomes quiet and simply fades away.

The performance by both the BBC Philharmonic Orchestra and the Academy of Ancient Music is superb and the recording is crisp and dynamic; the blistering brass passages being a distinct highlight. The liner notes provide some insight into both the story as well as the music. Although I feel a little pruning in the earlier sections might have helped that section work just a little more entertainingly, the music eventually unfolds into something of a wonderful tone poem. It is perhaps a shame that Bennett did not choose to rework the best moments together into more extended movements and perhaps presented Tavener's music seperately at the end. The sequencing as it stands does not quite match the narrative order anyway, but from around track 10 is a continuing stream of highlights. These are perhaps minor quibbles. Despite some very good TV movie scores coming from the US recently, this cetainly shows the much greater and more original imaginations of two excellent composers who have transcended the production and composed a great fantasy score.

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