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Auric: Lola Montez / Notre-Dame De Paris / Farandole

Auric: Lola Montez / Notre-Dame De Paris / Farandole

1 août 2006

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Amazon.com: 4.3 étoiles sur 5 2 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 volume 3 in Adriano's Auric-Film-Music series 8 février 2015
Par Discophage - Publié sur Amazon.com
Format: CD
Volume 3 (out of four) in conductor Adriano's great survey of the film music of George Auric. The other installments are AURIC: La Belle et la Bete (Beauty and the Beast), The Classic Film Music of Georges Auric, Vol. 2: Orphee / Ruy Blas / Thomas I'Imposteur and Auric: Symphonie Pastorale (La) / Macao, L'Enfer Du Jeu. Three films are featured here: Jean Delannoy's "Notre Dame de Paris" with Anthony Quinn as Quasimodo and Gina Lollobridgida as Esmeralda (1956) - in his liner notes Adriano seems skeptical about the film itself, but I have fond memories of it, and especially of Quinn's impersonification -, Max Ophüls' last film Lola Montès (1955) - which the booklet wrongly spells "Montez", following the spelling of the real character - and Farandole, a forgotten and lost film by André Zwoboda (1944) after Arthur Schnitzler's novel Der Reigen (The Round Dance). Adriano follows his custom of arranging the film music in the form of symphonic suites, and although he doesn't explicitly say so except in the case of Farandole, one supposes that to do so he went back to the composer's manuscripts, kept in his widow's house.

Compared to all of Adriano's other suites drawn from the film scores of Auric, there is one peculiarity in the case of Farandole: apparently, the film is really lost, so Adriano wasn't able to compare the manuscripts and the film's soundrack (which reveals that in many cases the directors didn't use all the music composed by Auric, or abruptly cut it, or covered it by dialogue and sound, so that Adriano's Suites usually offers much material that is in fact previously unpublished). It means also that this is the only documentation of Auric's music for this film.

Although it has its few moments of bombast, the music is way above your usual Hollywood film score, and often hugely dramatic and marvelously evocative. It even has its striking moments of dissonance, as in the Overture of Notre Dame de Paris, although overall the idiom isn't particularly modern and safely anchored in 20th century romanticism. The suite drawn by Adriano from Notre Dame de Paris is completed and enhanced by the few dances which he has gathered in an "Esmeralda-Suite", although in the film they are not exclusively related to that character. But their interest is that they are considerably more lightly scored than the rest (two harps, two guitars and cello), and their Spanish character may not have much historical accuracy, but it has... much character. The score to Lola Montès also stands out by featuring a lighter side of Auric, with a lot of circus music (the film is a series of flash-backs from a situation in which the ageing Courtisane is shown as a circus display), waltzes and music that could come from a Broadway musical (track 15, "From one scandal to another"). Running 28:20, it is also the longest of the three film scores featured on this CD.

TT 63:32, thorough liner notes as usual in this series. Bravo Adriano.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Not up to an earlier standard but still very good 20 juin 2000
Par F. Behrens - Publié sur Amazon.com
Format: CD
Back in 1994, Marco Polo label released a real gem, almost every note of the Georges Auric score to "La Belle et la Bete" (8. 223765) possibly the finest score to any film--ever. In 1998 they followed up with suites of his music for "Orphee," "Ruy Blas" and "Thomas l'imposteur" (8.225066). Wonderful scores but they pale somewhat compared with the first recording. And that is my only negative concerning the 3rd volume in this series, <Lola Montez, Notre-Dame de Paris, Fanandole (Suites) (8.225070), played by the Moscow Symphony Orchestra under Adriano.
Actually there are two suites from the film based on the Notre-Dame tale: one for full orchestra and one for two harps, two guitars and cello. This is, by the way, the awful version with Anthony Quinn and Gina Lollobrigida. So as I always have to say about film score recordings, the music stands or falls on its own merits. And if one listens as if one is hearing a series of very short tone poems, then this CD, as does Vol. 2, succeeds very nicely indeed. As always with Marco Polo, the liner notes are quite helpful. But please go for the "Belle et Bete" offering first.
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