William PERRY (b.1930)
Music for Great Films of the Silent Era
Gemini Concerto – an Entertainment for Violin, Piano and Orchestra
* (2010) [32:05]
The Silent Years: Three Rhapsodies for Piano and Orchestra † (?) [23:46]
Six Title Themes in Search of a Movie [22:46]
Albeck Duo: Ambra Albeck (violin/viola) and Fiona Albeck (piano) *; Michael
Chertock † (piano); Helen Kearns (soprano)
RTÉ National Symphony Orchestra (Ireland)/Paul Phillips
rec. National Concert Hall, Dublin, 31 may and 1-2 June 2010
World Premiere recordings
NAXOS 8.572567 [78:41]
Of course there were no soundtracks for films of the silent era. Music was
provided, in situ, in cinemas, by pianists or small instrumental groups,
and, very occasionally, by orchestras playing in large cinemas for important
film premieres. Often the music played comprised odd snippets - frequently
from well known classical compositions that fitted the locations, pace and
mood of the on-screen action. Years later when these Silent Era classics were
rediscovered, new original music was composed for them. Foremost amongst composers
for silent films are Carl Davis – and William Perry. This Naxos CD is a celebration
of Perry’s work.
William Perry’s Gemini Concerto draws cleverly on themes created for
films of the 1920s; for example the ‘New York: Broadway and Finale’ quotes
music written from: Show People (1928), Fine Manners (1928)
starring Gloria Swanson and from King Vidor’s 1928 masterpiece, The
Crowd. The Gemini Concerto was written for the Swiss identical
twin sisters, Fiona and Ambra Albeck, featured on this recording. It was premiered
in Greenfield Massachusetts in May 2010.
The Gemini Concerto begins with an ‘Introduction and Travel Music’
that is a fizzy, exuberant mix of styles beginning with a ‘we’re off’ train
whistle sparking material evocative of accelerating train wheels; this sparkling
Introduction has colourful harmonies and imaginative orchestrations and ensembles
- piano and violin solos, chamber and orchestral segments - all in pursuit
of adventure, discovery and revelling in nostalgia. The sense of the train
proceeding continues with ‘Dublin, Celtic Air and Runaway Reel’ which is the
Concerto’s second movement that has a typically Irish tune with a prominent
violin solo. The third movement takes us to Berlin for a ‘Cabaret March and
Berliner Lied’, beautifully evocative, reminiscent of that city between the
wars. It has an exquisite poignant melody for piano and violin - the Berliner
Lied – that speaks of sadness of parting. This movement is worth the price
of the CD alone. On to Moscow for a ‘Twilight Troika and Romance’ horses trotting
through a snowy landscape; sleigh bells a-ringing before bells of a different
kind introduce a sweet Romance for piano and violin à la Rachmaninov.
In Vienna there is a sparkling and gaily romantic ‘Polytonal Polka and Waltz
‘Wiener Wein’ that sends champagne corks a-poppin’. Finally we land in New
York for the Concerto’s glittering, jazzy ‘Broadway Ballet and Finale’.
Perry has drawn together music from three of his scores to form the somewhat
less original, less inspired The Silent Years: Three Rhapsodies for Piano
and Orchestra. The first of these Rhapsodies is on music for the 1927
John Barrymore swashbuckler, The Beloved Rogue which was a film based
on the adventures of 15th century rogue and poet, François Villon.
Fanfares announce a swaggering devil-my-care theme for Villon. The suite includes
music for court pomp and majesty and the requisite love music - material that
Korngold would not have sniffed at - Blood and Sand famously starred
Rudolph Valentino and Perry’s score is suitably exotically Latin, including
flashing flamenco rhythms and music reminiscent of de Falla, for this Andalucian-based
torrid melodrama about the fortunes of bullfighters. The evocative score follows
this story of bravery in the bull ring, passion and betrayal and ultimate
tragedy. Charlie Chaplin’s The Gold Rush inspired Perry to pen music
suggesting labouring with pick and hammer, comic and poignant adventures of
prospector Charlie, a New Year’s party dance, Charlie’s shy romancing and
his big gold strike.
Perry explains that he sometimes conceives themes that could be used to score
film assignments he might yet receive. Accordingly, from such a store of themes,
he has drawn together another brilliantly coloured suite of music entitled,
Six Title Themes in Search of a Movie. Number one is a Dance Overture
for an imaginary film that might conceivably be entitled ‘Wild Nights in Toronto’.
It’s wild alright, bright and breezy and jazzy redolent of the roaring twenties
with gangsters and their molls. Next we travel to France for a typically Gallic
waltz that could grace such a film called ‘Raincoats of Dijon’;
the obligatory accordion is featured prominently. Then it is south to Italy
for a Serenade for a projected film ‘Angelus for an Angel’. The
orchestration calls for wistful use of tubular bells. The fourth theme carries
us off to South America and another Perry dream film, ‘The Bridge on
the River Plate’. This time he uses stirring quick march music that he
had actually composed for a silent film about World War I, What Price Glory;
the soldiers must be in a happy mood judging by their whistling! Now comes
a Nocturne in jazz blues mode for a film that might be entitled, ‘The
Black Marigold’ – possibly a film noire set in a Manhattan night
club? The final theme is for an imaginary science fiction film called ‘Voyage
to the Dog Star’. This is a glamorous score that reminds one more of
those Ziegfeld musicals and Bette Davis tear-jerkers than a sci-fi epic. The
music might remind one of the grand Late Romantic piano concertos and there
is a grandiloquent solo Siren Song from Irish soprano Helen Kearns as the
space craft nears the fiery surface of Sirius. A wonderful way-over-the-top
finale.
The RTÉ Orchestra and Paul Phillips play these colourful and melodic
works with great enthusiasm and panache and mention must be made of Robert
Nowak’s brilliant orchestrations.
Naxos have really gone to town with the documentation for this release. The
16-page booklet includes colour pictures of the composer and all the artists,
plus full notes and even musical examples. ’Pity then that the dates
of composition and films are not always given.
A glorious, joyous, tuneful celebration of the days of Silent Cinema.
Ian Lace
A glorious, joyous, tuneful celebration of the days of Silent Cinema.