Babylon's Ashes

In his long life, Louis Spohr found himself to be a contemporary of Ludwig van Beethoven, Hector Berlioz, Franz Liszt, and Richard Wagner, yet in spite of living in the turbulent first half-century of the Romantic era, he continued to emulate the music of Wolfgang Amadeus Mozart and stayed rather close to the practices and expressions of the late Classical era.

Given that John Williams has his pick of much of the $80-million, thrill-packed boilerplate that comes clanging out of Hollywood every summer and fall, it's especially noteworthy (and often gratifying) when he doesn't exercise his option. In scoring Alan Parker's adaptation of Frank McCourt's Pulitzer-winning memoirs of his dire Irish upbringing in the 1930s and '40s, Williams has produced a graceful, autumnal work of compelling, though decidedly delicate, emotional power. Using spare piano and solo woodwind melodies filled with longing eloquence, Williams effectively punctuates a sweeping, largely string and wind ensemble. As he did to great effect in The Phantom Menace, the veteran leans heavily on his classical moonlighting duties for inspiration. Interspersed throughout (and also effectively underscored by his music) are concise, telling excerpts of the film's narration read by Alan Bennett.

Welcome to another selection of modern progressive music for you to enjoy, with the latest Prog cover CD (10/05/2018). Frequency Drift, Laura Meade and many more.