Capriccio - Score
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I mention this not only because I am a Chelsea fan [Boo! Dutch sound company Sonokinetic obviously share this view as their latest orchestral phrase library Capriccio replicates the format of its predecessors Minimal and Grosso For more details, please read the reviews of the previous Sonokinetic libraries on the SOS web site.
Like its predecessors, Capriccio runs on Kontakt 5. Containing approximately 38, samples, the library is Clicking on one of the trademark arty graphic squiggles that Sonokinetic use to identify phrases opens up the Phrase Picker window, where you can see all available performances of the instrument in question see Phrase Statistics box.
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However, only the main version of each phrase may be previewed; to hear its variations which constitute about a third of the total performances , you have to load the phrase. In the woodwinds department, galloping, high-pitched rhythm figures and pulsing eighth-note chords played by flutes, piccolo and oboes combine well with staccato clarinets and bassoons licks. Different colours make it easy to distinguish instrument types at a glance.
Fanfare-like trumpet section figures, played in fourths and fifths or as single notes, sound bright, forceful and incisive; the French horns also perform propulsive, fat-sounding phrases, while trombones, bass trombone and tuba contribute some extremely strong low-end blasts.
However, Capriccio also features a good number of quieter, more subtle phrases. Some are in a light classical vein which Mozart would have approved of — lightly harmonised two-note legato motifs, flowing 16th-note ascending and descending arpeggios, lyrical melodic figures, etc. Trumpets and horns play some nice supportive sustained triads, while lively, flowing woodwind flourishes, fast clarinet triplet patterns and high-pitched, quicksilver piccolo mini-runs can be used to add a colourful, liquid swirl to earthy rhythmic passages.
This plain, open tonality gives composers more freedom to alter and extend the harmony of their scores when adding extra parts. A cool multi-sampled percussion patch maps out tam tam gong, piatti cymbals, anvil-like iron hits and some excellent, powerful low drum samples, basking in a very pleasing, natural concert hall ambience and mapped for two-handed playing, these ethnic-sounding drums are a star feature.
Frank Strobel proves that he is indeed a fine interpreter of film music, breathing life into the music of Metropolis in such a way that it jumps out of the speakers and brings forth images of the film as you listen. It is just simply fantastic. If you liked the soundtrack to Metropolis, or simply adore well done film music, get this recording.
for violin and orchestra
Classic film score worth hearing! I might be one of the few people who have never actually heard the film score to Fritz Lang's classic "Metropolis" apart from the movie. In fact, I only saw the film once and many years ago.
This new release of the score to "Metropolis" is a revelation. The music by German Gottfried Huppertz is a gem of a period piece. This wonderful recording includes the sounds from what was a lost twenty two minutes.
Capriccio, Op (Goltermann, Georg) - IMSLP: Free Sheet Music PDF Download
Huppertz is known for just a small number of film scores and was also a popular singer in both the opera courts as well as well as the popular scene in the s and into the '30's. Clearly, his style was a reflection of the late German Romantic tradition with echoes of Wagner and hints of his contemporary Mahler. However, his music is also reflective of some of the cabaret jazz and music of the "roaring twenties" that he no doubt heard around him. The score is both episodic as well as built on themes that relate to particular characters and elements of plot.
The very helpful booklet notes by Peter Moorman point out that Huppertz's music seems to have clearly influenced other later, better known film composers including Wolfgang Korngold and Max Steiner. It is also historically important to note that most film scores from the silent era and beyond were from German and German-American composers.
The United States had yet to produce a big film composer until, perhaps, Bernard Herrmann, he too of German descent. This recording is much more than a curiosity. The style is, of course, both dated and nostalgic but of both historical and musical importance. Composers such as Huppertz and others from that time clearly had a large scale symphonic vision.
Original Motion Picture Score
The music, while thematic, plays out over long periods of time and contains expanded treatment of the core elements. Much of today's film music - with some exception - is essentially two or three rather short melodies that recur many times and with just minor variations. Huppertz truly does sound like "the past" but in a positive, important way. The performance here by the Rundfunk-Sinfonieorchester of Berlin specializes in repertory like this and conductor Frank Strobel is himself a dedicated specialist in historic film scores.
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