Rumon Gamba, BBC Philharmonic Orchestra - The Film Music of Georges Auric (1999) [Hi-Res]

Tracklist

01. Caesar and Cleopatra Suite: I. Main Titles
02. Caesar and Cleopatra Suite: II. At the Sphinx
03. Caesar and Cleopatra Suite: III. The Battle
04. The Titfield Thunderbolt Suite: I. Titles
05. The Titfield Thunderbolt Suite: II. The Triumph of the Thunderbolt
06. The Titfield Thunderbolt Suite: III. End Titles
07. Dead of the Night Suite
08. Passport to Pimlico Suite: I. Titles
09. Passport to Pimlico Suite: II. The Siege of Burgundy
10. Passport to Pimlico Suite: III. Finale and End Titles
11. The Innocents Suite: I. O Willow Waly - Main Titles
12. The Innocents Suite: II. Coachride and Arrival at Bly
13. The Lavender Hill Mob Suite: I. Titles
14. The Lavender Hill Mob Suite: II. The Robbery
15. The Lavender Hill Mob Suite: III. The Eiffel Tower
16. The Lavender Hill Mob Suite: IV. End Titles
17. Moulin Rouge Suite: I. Main Titles
18. Moulin Rouge Suite: II. Polka
19. Moulin Rouge Suite: III. Waltz
20. Moulin Rouge Suite: IV. Quadrille
21. Father Brown Suite: I. Main Titles - The Robbery - The Cross of St Augustine
22. Father Brown Suite: II. Channel Crossing
23. Father Brown Suite: III. Train Journey to Fleurancy
24. Father Brown Suite: IV. End Titles
25. It Always Rains on Sunday Suite: I. Main Titles and Opening Scene
26. It Always Rains on Sunday Suite: II. Tommy and Rosie
27. It Always Rains on Sunday Suite: III. Farewell and Getaway - Epilogue - End Titles
28. Hue and Cry: Overture

All the scores here (expertly reconstructed by Philip Lane) are from British films, for which Auric wrote some 30; but he also wrote another 100 or so for French, German, Italian and American movies. It was in fact by a French film – René Clair's delightful satire A nous la liberté – that he first won our hearts in 1932; it wasn't until the end of the war that he was taken up by Denham and Ealing. Auric, not one for the 'hit tune' score beloved by commercial exploiters, nevertheless showed in his Moulin Rouge waltz that he too could command the popular style.
On this disc he's heard running the gamut through the grandiose or the dramatic (It alwaysrains on a Sunday, one of his finest pieces), the menacing (the unforgettably scary Dead ofNight) and the atmospheric ('At the Sphinx' in Caesar and Cleopatra) to the swirling gaiety of The Titfield Thunderbolt, the perky Passport toPimlico and the ebullient high spirits of Hue andCry. From the gusto of the playing throughout, it seems clear that the BBC Philharmonic enjoyed making this disc: understandably so.

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