Malcolm Arnold: The Roots of Heaven; David Copperfield

Moscow Symphony Orchestra/William Stromberg

Marco Polo

Playing Time: 62:09

Anthony Kershaw

You can always count on Malcolm Arnold to write a good tune. On this recent Arnold-sanctioned Marco Polo release of his film scores of The Roots of Heaven and David Copperfield, he delivers in spades.

Both films' signature tunes offer a glimpse of the broad themes the movies convey, and Arnold, the consummate orchestrator, uses his themes as foundation for much of what follows musically. As played by the Moscow Symphony Orchestra, both scores describe the action and characters very effectively. Conductor William Stromberg keeps the rhythms lively and the tempos up, and coaxes fine solo playing from within the Mosfilm studio setting.

From the copious and well-written notes, it seems the difficult conditions of the African locations for The Roots of Heaven were too much of an obstacle for director John Huston. After his 1951 African foray with Bogey and Hepburn, it might have been wise for Huston to dodge this 1958 effort. Considering his brilliance and the film's lukewarm reception, the situation (or script) must have got the better of him. The score, however, is both powerful and evocative and grabs the listener from the opening bar. The Great Elephants cut benefits from the excellent percussion and low brass sections of the Muscovite musicians. Other tracks highlight good strings and woodwinds, but the horns suffer a little from pitch deviations. Solo oboe and clarinet (Arnold uses the clarinet brilliantly for the humorous characters in both scores) are excellent -- intonation on the whole is good.

It came as a surprise to find the 1970 incarnation of David Copperfield was made for TV; NBC, in fact. The film was released in Europe for the big screen, probably to recoup the cost for hiring a who's who of Brit talent. Arnold's score captures the pathos and yearning of Dickens' story with great skill - this is not your usual TV score. From the ultra-romantic opening theme via the seascape of Return to Yarmouth to the delicacy of the Emily, Agnes and Dora themes, Arnold does his usual trick of convincing the listener to empathize with both situation and character. Unlike the Arnold excellence that portrays the unconvincing script of Roots, Copperfield's musical cuts have the benefit of Dickens' incredible prose from which the composer has drawn beautifully. Agnes leaves David is as poignant as Mr. Micawber is exuberant (great clarinet, again). Both tracks are perfect examples of why this movie score is considered one of Arnold's finest. Sadly, it was also his last.

The recording's soundstage is spread evenly before the listener, but betrays a little studio reverb tweaking. Solos are spot miked, but this style does not detract from the overall experience. Percussion instruments sound very good on this recording, tubular bell, especially -- wood on metal is heard easily. Musically, however, there is nothing to complain about. The performance is very good and the repertoire even better. Those who enjoy grand tunes and colourful orchestration will want this gem of a CD. Highly recommended.