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Classical Music from Sci-Fi Films is a compilation album. Contains music from 2001: A Space Odyssey, A Clockwork Orange, V for Vendetta, Face/Off, and more.

The United States of America, a promised land? Free America! celebrates the ideas and hopes which preoccupied the young American Republic in the years 1770-80: the need for freedom of assembly, a willingness to rebel and go into battle fully aware of the cost, but above all, a desire for a new harmony whose songs, hymn tunes, and marches accompany the long journey to a new “promised land.” A powerful message which informs the first collaboration between harmonia mundi and Anne Azéma now leading the Boston Camerata

Classical Music from Sci-Fi Films is a compilation album. Contains music from 2001: A Space Odyssey, A Clockwork Orange, V for Vendetta, Face/Off, and more.

The score of The Prophets, intended as the last act of The Eternal Road, was the last that Kurt Weill composed in Europe and his last extensive setting in German, before he personally and professionally adopted the language of his new home, America.

Erich Wolfgang Korngold was, twice over and in two separate areas, one of the most renowned musical figures of the 20th century. Beginning at age seven, he was a celebrated performing prodigy, with a level of technical development and an understanding of music that awed such giants of the musical world as Gustav Mahler and Richard Strauss, who delighted in his prodigious talent. Greeted in such circles as a new Mozart, from his teens until his thirties Korngold was the author of a series of compositions – orchestral works, operas (most notably Die Tote Stadt), and chamber works – that were uniquely popular and among the most critically acclaimed of their era.

The Prophets, intended as the final act of The Eternal Road, was the last work that Kurt Weill composed in Europe and his last extensive setting in German before personally and professionally adopting the language of his new home, America. Musically, he drew on all his previous great works, from Mahagonny and The Seven Deadly Sins to his Second Symphony, at the same time foreshadowing some of his later works for Broadway. In 1998 David Drew devised the concert adaptation of this act, of which this is the first recording. The Four Walt Whitman Songs, meanwhile, were a product of the war years and reveal Weill at his most touchingly American, fusing German Lied with American theatre, Berlin with Brooklyn.