This disc is the first ever to offer the complete Shostakovich score to the 1964 Grigori Kozintsev film Hamlet. Actually, it contains a bit more: track 6 for example, "The Ball," presents music not heard in the film, music the composer wrote apparently because he wanted to reach a logical ending, even if in the film the music just fades away. There are 23 numbers in all, with a total timing of over 62 minutes. Stylistically, the music is related to the Eleventh (1957) and Thirteenth (1962) symphonies, but is of course less developmental and more programmatic, coming across as a sort of tone poem made up of many short movements. While there is a fair amount of bright, even happy music in the score, the mood is generally dark and intense, appropriately so considering the subject matter: Shakespeare's Hamlet is, after all, hardly a comedy. The music doesn't skim surfaces, either – it haunts, it sasses, it laughs, and it plumbs the depths.
Apple Corps Ltd. and Universal Music Group are pleased to announce global release plans for The Beatles: Live At The Hollywood Bowl, a new album that captures the joyous exuberance of the band’s three sold-out concerts at Los Angeles’ Hollywood Bowl in 1964 and 1965. A companion to The Beatles: Eight Days A Week - The Touring Years, Academy Award®-winner Ron Howard’s authorized and highly anticipated documentary feature film about the band’s early career, The Beatles: Live At The Hollywood Bowl will be released worldwide on CD and for digital download and streaming on September 9, followed by a 180-gram gatefold vinyl LP on November 18.
Pasolini created the most enduring expression of the story of Jesus yet seen on the screen, before or since. 'The Gospel According to St. Matthew" makes most other representations on the medium of film seem like a pale and poor imitation. Perfect in so many senses that the director still had time to include his own political sensibilities into his marvelous visage of Christ. The acting was excellent, as is was the casting and the limited use of camera angles and effects shows a sparing humility to the ode this film was obviously paying homage to. How this same guy made 'Salo' is beyond me. The choice of music, although questionable by some, seems the pin-point counter balance juxtaposing the onscreen events… Billie Holliday to Bach. It all works like an extreme expression of love overflowing onto your awestruck gaze. This film may not be perfect in others eyes, but it was in mine.Gary W. Tooze