This performance was recorded in Sydney in 1982 during a tour of Australia, when he was at or close to his vocal peak. The present disc was released to coincide with his recent tour of Australia. The concert takes the form of Rebroff singing, chatting to the audience, and also disappearing offstage a couple of times while a violinist and then two guitarists perform solos. Rebroff dresses in traditional Cossack costume complete with fur hat and coat. His over-the-top performance style has been accurately described as "kitsch", which will be off-putting for many viewers
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.
Ministry Of Sound present this new 3 CD set featuring 54 of the biggest and most iconic film instrumental scores of all time. Includes Star Wars, Lion King, Harry Potter, Gladiator, ET, Titanic, Avatar, Forrest Gump, Game of Thrones, Jaws, Star Trek & more.
Maurice Jarre wrote the central musical motif of his score for Doctor Zhivago, "Lara's Theme," in a few minutes in a hotel, amid a frantic five-week rush to score the 197-minute movie. That theme made the Doctor Zhivago soundtrack album one of the biggest selling soundtrack of the 1960s, a considerable feat when one reckons in the competition from A Hard Day's Night, Never on Sunday, A Man and a Woman, Exodus, and 2001: A Space Odyssey. The rest of Jarre's score is more in the realm of lushly textured Russian-themed mood music, filled with dark male choruses, folk and folk-like themes, and dense orchestrations, sort of faux-Tchaikovsky. The stereo separation is used to good effect, and the music as a whole forms a kind of romantic/exotic travelogue as much as a dramatic sketch of the movie's action.