wimpel69
12-11-2016, 02:42 PM
Please request the FLAC links (including the covers
and individual booklets) in this thread. PMs will be ignored!
These are my own rips. Please do not share my material further, also please
add to my reputation!
The latest album in the Wiliam Alwyn Film Music series from Chandos brings new recordings of
music from the prolific decades of the 40s and 50s, during which Alwyn scored a number of famous films.
These scores show to perfection Alwyn’s supreme skill in providing music totally attuned to the subject matter,
which ranges from the dramatic to the exotic, from comedy to the factual. Much of the music recorded here
had to be reconstructed by Philip Lane from the soundtracks, as written scores had not survived.
William Alwyn was a consummate film composer, as capable of creating powerful marches as he was
atmospheric waltzes. In these exciting arrangements by Martin Ellerby for wind band, the full variety of
Alwyn’s inspiration can be appreciated. There is the romantic allure of the overture to The Crimson Pirate,
the compact, brilliant characterisation of The History of Mr Polly and the suite from Geordie, with
its seductive use of familiar Scottish melodies. The scores for The Way Ahead and Desert Victory convey action
with superb and stirring effectiveness.
Film Scores included are:
The Black Tent
On Approval
The Master of Ballantrae
Fortune is a Woman
Mermaid's Song
Saturday Island
Shake Hands with the Devil
The Ship That Died of Shame
They Flew Alone
The City Speaks (Manchester Suite)
The Crimson Pirate
The History of Mr. Polly
The Way Ahead
State Secrets
The Million Pound Note
Swiss Family Robinson
True Glory
Geordie
In Search of the Castaways
Desert Victory
Music Composed by
William Alwyn
Arranged by
Philip Lane
Martin Ellerby
Played by the
BBC Philharmonic Orchestra
Royal Northern College of Music Wind Orchestra
Conducted by
Rumon Gamba
Clark Rundell
Mark Heron
Born in 1905, William Alwyn was among the large group of post-Romantic English composers who gained
popularity in the wake of Ralph Vaughan Williams and Gustav Holst. A prolific composer, as well as a flautist
and teacher, he worked successfully in various forms and idioms.
Alwyn was educated at the Northampton Grammar School, where he proved a promising student in both music
and art. He attended the Royal Academy of Music from 1920 to 1923, by which time he had settled on composition
as his main interest in life. His studies were interrupted by the death of his father when he was eighteen, and he
was forced to go to work. He taught in a preparatory school and made the rounds of theater orchestras as a
flautist before returning to the Academy three years later as a composition teacher. Alwyn's own breakthrough
as a composer took place in 1927, when Sir Henry Wood conducted the premiere of his Five Preludes for
Orchestra at a promenade concert in London. His Piano Concerto was finished in 1930, and his oratorio,
a setting of The Marriage of Heaven and Hell by William Blake, was completed in 1936. Despite many
honors and awards, Alwyn abruptly abandoned all of his early works in 1939, regarding his technique
as inadequate.
Alwyn turned to neo-classicism in the 1940s, and found inspiration for a resumption of his career. His later
work included five symphonies, the first dating from 1949, two concerti grossi, a series of four Scottish
Dances, and several programmatic orchestral works including the symphonic prelude The Magic Island,
the gorgeous and haunting Lyra Angelica for harp and strings, and Autumn Legend, as well as a pair of
string quartets and other chamber pieces, and the operas The Libertine and Miss Julie. His seventy film
scores include Penn of Pennsylvania (1941), Green For Danger (1946), Odd Man Out (1946), The Fallen
Idol (1948), and The Rocking Horse Winner (1950), as well as many documentaries. He was made a
Fellow of the British Film Academy. In 1955, Alwyn gave up his teaching position, and from 1961
onward pursued composition virtually exclusively. In 1978, he was knighted. Alwyn died in 1985.
There was something of an Alwyn renaissance in the 1970s, both in performance and a series of
landmark recordings by the London Philharmonic Orchestra, conducted by the composer himself,
for the Lyrita label. In the 1980s and 1990s, younger conductors on other labels -- most notably
Chandos -- began recording the symphonies and other orchestral works.
Alwyn's music is melodic and eminently accessible, if not always as adventurous as modern listeners
might expect. His tunecraft could be both subtle and profound, as in The Magic Island (inspired by
Shakespeare's The Tempest and the Lyra Angelica, both compelling visions of beauty and mystery
that rank among the finest pieces of program music of their era. His symphonies are plainer and dryer,
but only slightly less attractive, with beautiful scoring and great technical vitality. All of these
pieces were often regarded as out-of-date in the relentlessly avant-garde world of contemporary
music at the time they were published, and they were largely ignored outside of England at the time.
With the rebirth of interest in twentieth-century English music, however, Alwyn's work has gradually
been finding a wider audience since the 1980s.
Source: Chandos Records & Naxos CDs (My rips!)
Format: FLAC(RAR), DDD Stereo
File Sizes: 377 MB / 343 MB (incl. covers & booklets)
Please request the FLAC links (including the covers
and individual booklets) in this thread. PMs will be ignored!
These are my own rips. Please do not share my material further, also please
add to my reputation!
and individual booklets) in this thread. PMs will be ignored!
These are my own rips. Please do not share my material further, also please
add to my reputation!
The latest album in the Wiliam Alwyn Film Music series from Chandos brings new recordings of
music from the prolific decades of the 40s and 50s, during which Alwyn scored a number of famous films.
These scores show to perfection Alwyn’s supreme skill in providing music totally attuned to the subject matter,
which ranges from the dramatic to the exotic, from comedy to the factual. Much of the music recorded here
had to be reconstructed by Philip Lane from the soundtracks, as written scores had not survived.
William Alwyn was a consummate film composer, as capable of creating powerful marches as he was
atmospheric waltzes. In these exciting arrangements by Martin Ellerby for wind band, the full variety of
Alwyn’s inspiration can be appreciated. There is the romantic allure of the overture to The Crimson Pirate,
the compact, brilliant characterisation of The History of Mr Polly and the suite from Geordie, with
its seductive use of familiar Scottish melodies. The scores for The Way Ahead and Desert Victory convey action
with superb and stirring effectiveness.
Film Scores included are:
The Black Tent
On Approval
The Master of Ballantrae
Fortune is a Woman
Mermaid's Song
Saturday Island
Shake Hands with the Devil
The Ship That Died of Shame
They Flew Alone
The City Speaks (Manchester Suite)
The Crimson Pirate
The History of Mr. Polly
The Way Ahead
State Secrets
The Million Pound Note
Swiss Family Robinson
True Glory
Geordie
In Search of the Castaways
Desert Victory
Music Composed by
William Alwyn
Arranged by
Philip Lane
Martin Ellerby
Played by the
BBC Philharmonic Orchestra
Royal Northern College of Music Wind Orchestra
Conducted by
Rumon Gamba
Clark Rundell
Mark Heron
Born in 1905, William Alwyn was among the large group of post-Romantic English composers who gained
popularity in the wake of Ralph Vaughan Williams and Gustav Holst. A prolific composer, as well as a flautist
and teacher, he worked successfully in various forms and idioms.
Alwyn was educated at the Northampton Grammar School, where he proved a promising student in both music
and art. He attended the Royal Academy of Music from 1920 to 1923, by which time he had settled on composition
as his main interest in life. His studies were interrupted by the death of his father when he was eighteen, and he
was forced to go to work. He taught in a preparatory school and made the rounds of theater orchestras as a
flautist before returning to the Academy three years later as a composition teacher. Alwyn's own breakthrough
as a composer took place in 1927, when Sir Henry Wood conducted the premiere of his Five Preludes for
Orchestra at a promenade concert in London. His Piano Concerto was finished in 1930, and his oratorio,
a setting of The Marriage of Heaven and Hell by William Blake, was completed in 1936. Despite many
honors and awards, Alwyn abruptly abandoned all of his early works in 1939, regarding his technique
as inadequate.
Alwyn turned to neo-classicism in the 1940s, and found inspiration for a resumption of his career. His later
work included five symphonies, the first dating from 1949, two concerti grossi, a series of four Scottish
Dances, and several programmatic orchestral works including the symphonic prelude The Magic Island,
the gorgeous and haunting Lyra Angelica for harp and strings, and Autumn Legend, as well as a pair of
string quartets and other chamber pieces, and the operas The Libertine and Miss Julie. His seventy film
scores include Penn of Pennsylvania (1941), Green For Danger (1946), Odd Man Out (1946), The Fallen
Idol (1948), and The Rocking Horse Winner (1950), as well as many documentaries. He was made a
Fellow of the British Film Academy. In 1955, Alwyn gave up his teaching position, and from 1961
onward pursued composition virtually exclusively. In 1978, he was knighted. Alwyn died in 1985.
There was something of an Alwyn renaissance in the 1970s, both in performance and a series of
landmark recordings by the London Philharmonic Orchestra, conducted by the composer himself,
for the Lyrita label. In the 1980s and 1990s, younger conductors on other labels -- most notably
Chandos -- began recording the symphonies and other orchestral works.
Alwyn's music is melodic and eminently accessible, if not always as adventurous as modern listeners
might expect. His tunecraft could be both subtle and profound, as in The Magic Island (inspired by
Shakespeare's The Tempest and the Lyra Angelica, both compelling visions of beauty and mystery
that rank among the finest pieces of program music of their era. His symphonies are plainer and dryer,
but only slightly less attractive, with beautiful scoring and great technical vitality. All of these
pieces were often regarded as out-of-date in the relentlessly avant-garde world of contemporary
music at the time they were published, and they were largely ignored outside of England at the time.
With the rebirth of interest in twentieth-century English music, however, Alwyn's work has gradually
been finding a wider audience since the 1980s.
Source: Chandos Records & Naxos CDs (My rips!)
Format: FLAC(RAR), DDD Stereo
File Sizes: 377 MB / 343 MB (incl. covers & booklets)
Please request the FLAC links (including the covers
and individual booklets) in this thread. PMs will be ignored!
These are my own rips. Please do not share my material further, also please
add to my reputation!