John Barry: The Lion in Winter (New Digital Recording of the Complete Score)

Performers Original Score/Crouch End Festival Chorus/John Barry (Conductor/Composer)

September 25, 2001 | Compact Disc

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Composer John Barry drew extensively on Gregorian chant for this music, accompanying a film about 12th century British monarch Henry II. This 2001 recording of the 1968 film score necessarily relies most upon the talents of the Crouch End Festival Chorus, which sometimes performs a cappella, singing in Latin or in wordless melody, once ("The Christmas Wine") in English. There are also many stark fanfares and occasional cues that employ more conventional dramatic ("To the Chapel") or elegiac ("God Damn You") music. So, Barry has not restricted himself to the available musical styles of England in the late 1100s, but he has provided much of that flavor. This recording is slightly longer than the original soundtrack album, and it is augmented with a six-part, 16-minute suite of Barry-composed music from the 1971 film Mary, Queen of Scots. Though it is fair enough to match up the music from two historical films about early Britain, the later one moves history forward 400 years to the 16th century, and Barry's style of writing changes considerably, to a much more calm and romantic set of cues that don't really follow on from what has been heard previously. ~ William Ruhlmann

Format: Compact Disc

Released Date: September 25, 2001

Genre: Film Composers

Style: Rock & Pop

Number of Discs: 1

UPC: 738572113124

Found in: Film Composers

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John Barry: The Lion in Winter (New Digital Recording of the Complete Score)

John Barry: The Lion in Winter (New Digital Recording of the Complete Score)

Performers Original Score/Crouch End Festival Chorus/John Barry (Conductor/Composer)

Format: Compact Disc

Released Date: September 25, 2001

Genre: Film Composers

Style: Rock & Pop

Number of Discs: 1

UPC: 738572113124


Title Track Time
1.Lion in Winter, film score~Lion in Winter --
2.Lion in Winter, film score~Allons Gai Gai Gai --
3.Lion in Winter, film score~Richard's Joust/Geoffrey's Battle --
4.Lion in Winter, film score~Chinon/Eleanor's Arrival --
5.Lion in Winter, film score~Fanfare for Philip/The Great Hall Feast --
6.Lion in Winter, film score~Herb Garden --
7.Lion in Winter, film score~To the Chapel --
8.Lion in Winter, film score~Eya, Eya, Nova Gaudia --
9.Lion in Winter, film score~How Beautiful You Made Me --
10.Lion in Winter, film score~God Damn You --
11.Lion in Winter, film score~Christmas Wine --
12.Lion in Winter, film score~To Rome --
13.Lion in Winter, film score~Media Vita in Morter Sumus (In the Midst of Life We Are in Death) --
14.Lion in Winter, film score~We're All Jungle Creatures --
15.Mary Queen of Scots, film score~Mary, Queen of Scots Suite: Mary, Queen of Scots --
16.Mary Queen of Scots, film score~Elizabeth's Ride --
17.Mary Queen of Scots, film score~Vivre et Mourir --
18.Mary Queen of Scots, film score~But Not Through My Realm --
19.Mary Queen of Scots, film score~Mary and Darnley --
20.Mary Queen of Scots, film score~This Way Mary --

Editorial Notes

Composer John Barry drew extensively on Gregorian chant for this music, accompanying a film about 12th century British monarch Henry II. This 2001 recording of the 1968 film score necessarily relies most upon the talents of the Crouch End Festival Chorus, which sometimes performs a cappella, singing in Latin or in wordless melody, once ("The Christmas Wine") in English. There are also many stark fanfares and occasional cues that employ more conventional dramatic ("To the Chapel") or elegiac ("God Damn You") music. So, Barry has not restricted himself to the available musical styles of England in the late 1100s, but he has provided much of that flavor. This recording is slightly longer than the original soundtrack album, and it is augmented with a six-part, 16-minute suite of Barry-composed music from the 1971 film Mary, Queen of Scots. Though it is fair enough to match up the music from two historical films about early Britain, the later one moves history forward 400 years to the 16th century, and Barry's style of writing changes considerably, to a much more calm and romantic set of cues that don't really follow on from what has been heard previously. ~ William Ruhlmann
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