(The) Classic Film Music of Victor Young
View record and artist detailsRecord and Artist Details
Composer or Director: Victor Young
Label: Marco Polo
Magazine Review Date: 5/1999
Media Format: CD or Download
Media Runtime: 70
Mastering:
DDD
Catalogue Number: 8 225063

Tracks:
Composition | Artist Credit |
---|---|
(The) Greatest Show on Earth |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: Prelude |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: Squirrel Chase |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: The Village |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: The Sobbing Ghost |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: Sunday Morning - Stella's Emotions |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: The Cliff |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: Grandfather and the Cliff |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
(The) Uninvited, Movement: End of Ghost - Finale |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Gulliver's Travels, Movement: Prelude - The Scroll and Storm |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Gulliver's Travels, Movement: Pussyfoot March |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Gulliver's Travels, Movement: Giant in Tow |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Gulliver's Travels, Movement: Gabby and the King - the Tower - The Archers |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Gulliver's Travels, Movement: Finale |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Suicide |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Sonia and the Wedding |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Southern Vengeance - The Fire - Finale |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Prelude - Welcome to Kingsmont |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Sonia |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Machine Montage |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Margaret |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Bright Leaf, Movement: Tobacco Montage |
Victor Young, Composer
Moscow Symphony Orchestra Victor Young, Composer William T. Stromberg, Conductor |
Author: rseeley
Producer David O. Selznick described Victor Young as an ‘extremely practical and successful man in doing scores without nonsense and within economic boundaries’. Something Selznick overlooked, however, was Young’s gift for melody; an attribute affectionately dubbed by colleague Miklos Rozsa as ‘Broadway-cum-Rachmaninov’. It is odd, then, that although Young’s film-inspired songs, Love Letters and When I Fall in Love, have been indestructible standards for over four decades, his vibrant film scores are only now beginning to receive the attention they deserve.
Amid the four attractive rarities on this latest addition to Marco Polo’s enterprising film music series is the main theme from The Uninvited (1944), which will be more familiar as another of Young’s enduring song hits, Stella by Starlight. This unashamedly lush, rhapsodic theme is both pure Young and pure Hollywood, and makes tantalizingly flitting appearances throughout a skilfully crafted score that shares the slightly edgy, mist-shrouded romanticism of Franz Waxman’s Rebecca. Representing his association with director Cecil B. DeMille is the march from The Greatest Show on Earth (1952), a blazing anthem to the technicolored world of the three-ring circus that out-Sousas Sousa!
If I can’t quite share notator Bill Whitaker’s enthusiasm for the rather overgenerous 26-minute suite from Bright Leaf (1950), the two ardent, contrasting love themes and a bustling ‘Machine Montage’ are certainly welcome discoveries. For me the most delightful item is the 16-minute selection from the animated featureGulliver’s Travels (1939). Although based on several of the film’s songs (by Ralph Rainger and others), Young’s rich embroidery is a wonderful example of his nimble, warm-hearted style.
A few restrained moments aside, the Moscow orchestra captures the spirit of these scores with great success, in a clean, robust acoustic that brings a satisfying sheen to the whole disc.'
Amid the four attractive rarities on this latest addition to Marco Polo’s enterprising film music series is the main theme from The Uninvited (1944), which will be more familiar as another of Young’s enduring song hits, Stella by Starlight. This unashamedly lush, rhapsodic theme is both pure Young and pure Hollywood, and makes tantalizingly flitting appearances throughout a skilfully crafted score that shares the slightly edgy, mist-shrouded romanticism of Franz Waxman’s Rebecca. Representing his association with director Cecil B. DeMille is the march from The Greatest Show on Earth (1952), a blazing anthem to the technicolored world of the three-ring circus that out-Sousas Sousa!
If I can’t quite share notator Bill Whitaker’s enthusiasm for the rather overgenerous 26-minute suite from Bright Leaf (1950), the two ardent, contrasting love themes and a bustling ‘Machine Montage’ are certainly welcome discoveries. For me the most delightful item is the 16-minute selection from the animated feature
A few restrained moments aside, the Moscow orchestra captures the spirit of these scores with great success, in a clean, robust acoustic that brings a satisfying sheen to the whole disc.'
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