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"Howard Shore: Two Concerti"
Lang Lang / Sophie Shao
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(http://linkshrink.net/7Ifpyt) 
(http://ul.to/f/rxdvfa)
Tracklist:
00:53:28
01. Ruin & Memory: I. Andante Nobile [11:02]
02. Ruin & Memory: II. Largo [10:23]
03. Ruin & Memory: III. Prestissimo [08:22]
04. Mythic Gardens: I. Cimbrone (Moderato) [09:30]
05. Mythic Gardens: II. Medici (Largo) [06:52]
06. Mythic Gardens: III. Visconti Borromeo Litta (Presto) [07:17]
Rep. Added. 🙂
Is this still you Bart uploading this, but under a different name?
Is this still you Bart uploading this, but under a different name?
Pretty sure it is. Same formatting, same link images. Bart Oss=Auberonquin=Love so Much=probably more accounts we haven’t noticed yet.
Occasions on which composers best known for scoring films do a "classical" album usually turn out badly. Sometimes the composer over-stretches his abilities and produces boring music. Or perhaps s/he strays too far from the style that made him popular and writes dour and largely academic music that alienates his audience. Or perhaps the end result is merely a piece of overlong film music masquerading as a serious classical concert work. Often, the music falls into an awkward no-man’s-land where the classical folk will hate it because it’s a thinly disguised film score, and the film score people will hate it because it is missing something they liked about that composer’s film music. (Not that it’s difficult to attract the ire of the classical folk – a significant percentage of them like nothing more than to attack the "peasant’s music" (film music), the degenerate hacks who write it, and the uneducated simpletons who listen to it.)
Shore treads a very difficult line here, and treads is admirably well. This music is, from the first note to the last, clearly from the same mind that bought us The Fly, Lord Of The Rings, and Silence Of The Lambs. The harmonies, melodies, and orchestration are all "comfortable" for people who enjoy Shore’s film music. At the same time, this is concert music through and through. I agree with earlier statements – I find the piano concerto more fulfilling than the cello concerto, but both pieces have a statement to make and both pieces make that statement quite eloquently. There is an ebb and flow, a sense of the bigger picture, and a feeling of one long journey rather than one a dozen short, vaguely connected ones – three aspects of composition at which film composers, as a general rule, do not excel. (In particular, Shore’s piano writing is excellent – far, far better than you would expect from someone who has never written a substantial piece for the instrument.)
The performance in both pieces is excellent, but the recording quality is bloody terrible – considerably more so in the piano concerto – dark and muddy, lacking in high frequencies and distant. If I didn’t know better, I’d say it was an amateur audience recording which has undergone considerable digital "massage" to make it serviceable. There are also some weird digital artifacts (4:32 in the third movement of the piano concerto) that heavily suggest some kind of horrendous problem has been edited out (not particularly well). I hope that these pieces don’t turn out to be one-shot "record it and forget it" – as so much contemporary classical music sadly becomes. I would be very interested in an alternative recording of this music.
Seeing as how Shore’s produced some of the best film music of all time, I don’t know who needs to be convinced of his abilities, but I’m looking forward to hearing this. Thanks to Love So Much for the share!