Basil Poledouris is an expert in the fusion of music and images, but probably few realize that he also holds a Master’s Degree in Cinema. After collaborating with directors such as John Milius at university, Poledouris decided that he would rather stand in front of a symphony orchestra than behind a movie camera. Since then he has written vibrant, often romantic scores for exotic dramas (The Blue Lagoon, Wind), family-oriented entertainments (Free Willy, The Jungle Book) and graphic fantasy/adventure films (Conan the Barbarian, Starship Troopers). Recently Poledouris spent three months in London scoring his first literary epic, the new Bille August adaptation of Victor Hugo’s Les Miserables. Following in the footsteps of Arthur Honegger, Alex North and Alfred Newman was not easy (there are at least seven screen versions in existence), but the composer remained undaunted and penned a tasteful, supportive score expressive of sincere emotion. Dominated by low-to-middle range tonalities, Poledouris’s music is organized into four symphonic suites. The disc begins with his sweeping, modal “Theme from Les Miserables”, which suggests how the lives of Valjean and police inspector Javert are intertwined. In the delicate, upbeat “Paris” the composer explores the ancient lineage of the harp in the suitably French manner of Debussy and Ravel. Les Miserables is dedicated by Poledouris to his late friend and frequent orchestrator Greig McRitchie (1914-97), whose immense talent will be sorely missed. Kevin Mulhall