Edward Said Audio

The Starlight Express was adapted from a book by Algernon Blackwood, A Prisoner in Fairyland, for a theatre production in the West End during the First World War, with music by Sir Edward Elgar. Combining the usually contrasting elements of fairytale and melodrama, The Starlight Express depicts the fantasy world inhabited by a group of children, who possess a magical ‘starlight’ quality that has been lost by the adults around them. This is the most comprehensive recorded version of The Starlight Express to date, based on a new score prepared by the Elgar Edition, which has been adapted by the conductor Sir Andrew Davis.

Inspired by a UK bankcard ad and daring to encroach on the shadow of the Austin Powers franchise, this Bond film satire may well end up as The Spoof That Got Left in the Cold. But in perfect contrast to star Rowan Atkinson's broad physical humor, composer Edward Shearmur delivers a deliciously deadpan musical score that skewers the 007 canon from twangy-guitar main theme to romantic Euro interludes and action-packed chases. Anchored by Robbie Williams' suitably earnest mock Bond-song "A Man For All Seasons" and seasoned with evocative tracks of Moloko's electronica and the suitably named Bond's classics-meets-worldbeat sensibilities, Shearmur's score brings it all to a satisfying conclusion on "Agent No. 1," where the former Pink Floyd/Shakespeare's Sister sideman showcases his own considerable synth and keyboard skills.

ln contrast to their later mainstream works, the band’s 2nd LP (released on Capitol Records in 1970] was a musical continuation of its predecessor. This hard to describe, but very fascinating, progressive and quite melodic album contained an eclectic and very British mix of styles, not far away from late 60’s The Beatles combined with Procol Harum, Lee Michaels’ debut album, The Moody Blues and even early Led Zeppelin works. Unfortunately, soon after Eclipse LP release guitarist Danny Marks left the band and the ‘progressive era’ was over. After that the group softened, but also gained much popularity. Edward Bear was at least for a moment a favourite of Quentin Tarantino, who once said “the band should be regarded as The Beatles of Canada"!

Tasmin Little's 2013 release on Chandos is an exploration of lush and lyrical music for violin and orchestra, composed by the leading British composers of the early 20th century, and it is an album of remarkable depth and beauty. Opening the program is the Concerto for violin & orchestra by E.J. Moeran, which sets the mood for the disc with its long-breathed, melancholy lines and pastoral atmosphere. While this is a technically challenging work that shows Little to her best advantage as a virtuoso, listeners may come away from the piece recalling its sweet ambience more than its flashiness. The same could also be said for Frederick Delius' Légende, Gustav Holst's A Song of the Night, and Ralph Vaughan Williams' The Lark Ascending, all three of which provide tests for the violinist's skills, yet are filled with such gorgeous music that listeners may only remember the general opulence of the scores. Also included are premiere recordings of Roger Turner's arrangements of Edward Elgar's Chanson de matin, Chanson de nuit, and Salut d'amour, which in orchestration, mood, and style fit the rest of the album nicely.

Making her debut on Decca, Alisa Weilerstein presents three major works of the cello repertoire with Daniel Barenboim leading the Staatskapelle Berlin. The star vehicle, naturally, is Edward Elgar's Concerto in E minor, which Weilerstein plays with commanding presence, rich tone, and emotional depth. Most listeners will be drawn primarily to this performance because of the piece's familiarity, and Weilerstein's charisma and passionate playing make it the album's main attraction. Yet listeners should give Weilerstein and Barenboim credit for following the Elgar with an important if not instantly recognizable or approachable modernist work, Elliott Carter's powerful Cello Concerto. Weilerstein is quite bold to play this intensely dramatic and angular composition, and while it's unlikely to appeal to the majority of fans who adore the Elgar, it deserves its place on the program for its seriousness and extraordinary displays of solo and orchestral writing. To close, Weilerstein plays Max Bruch's Kol Nidrei, a Romantic work that returns the program to a mellow and melancholy mood and brings the CD to a satisfying close. Decca's reproduction is excellent, putting Weilerstein front and center with full resonance, but not leaving the vibrant accompaniment of the orchestra too far behind her.

The new recording is entirely dedicated to British music and offers a great selection of works by famous but also lesser-known composers: recorded are works by Edward Elgar (1857-1934), Benjamin Britten (1913-1976), Peter Warlock (1894-1930) and Karl Jenkins (b. 1944). The album opens with the earliest masterpiece, the famous Serenade in E minor for string orchestra by Edward Elgar, one of the greatest British composers and leading European composers of his generation. Among the hallmarks of Elgar's compositions are ingratiating character pieces that often share elements with English folk music.

On 21st and 22nd April, 1983, Brian May was joined at Record Plant Recording Studios, Los Angeles, California, U.S.A. by his friends Eddie Van Halen (guitar), Alan Gratzer (drums), Phil Chen (bass), and Fred Mandel (keyboards). The output of the two days’ sessions was captured on a 3-track mini album and released on October 31st, 1983, titled Brian May + Friends: Star Fleet Project. Now celebrating its 40th anniversary, Star Fleet Project will be given the full reissue treatment as part of Brian’s ongoing Gold Series. Brian and his studio team, Justin Shirley-Smith and Kris Fredriksson, have created a completely new 2023 mix of the sessions from the original multi-track master tapes, and the artwork has been completely digitally recreated from the original 1983 source material, to give fans the very best experience at the highest possible quality.