Michael Beek highlights some recent releases of music for film and television
April round-up
The conductor takes to the podium and is swiftly shot in the back. He lies motionless on the stage while the orchestra lets rip with the iconic James Bond theme. Not your average concert, then, but we’ve come to expect nothing less from the Danish National Symphony and this latest release is one of its best yet. Agents Are Forever charts music for some of the screen’s best-loved spies and detectives. Bond looms large, though standout moments include cues from Michael Giacchino and Joe Kraemer’s recent Mission: Impossible film scores and David Arnold and Michael Price’s swaggering music for the BBC’S Sherlock. (Euro Arts 2067774 (Bluray); 2067777 (CD) ★★★★)
We’re still waiting to hear Hans Zimmer’s 007 score, and in the meantime his latest superhero effort has taken its bow in the shape of Wonder Woman 1984. Zimmer takes the reins from Rupert Gregsonwilliams, who scored the first film in the franchise, and in doing so ups the ante. This generous 90-minute presentation is quite the rush, as Zimmer delivers what is probably one of his best-ever takes on the genre. The emphasis on big melodies, orchestra and choir feels like a knowing throwback to the scores of the era in which this story is set. (Water Tower Music WTM40625 ★★★★★)
The BBC’S natural history epic
A Perfect Planet had its share of wonder, too. And while nature’s riches were celebrated in evermore glorious HD detail, there was further emphasis on our role in the planet’s ecologic unravelling. Underlining the sobering message and beautiful photography is a score by Ilan Eshkeri. His is also an old-school approach, relying on orchestral forces, simple musical lines and some lovely solo moments. The main series theme builds from solo piano to become a rousingly optimistic anthem for wordless chorus and orchestra. This digitalonly release sees music for each of the five episodes presented in order and Eshkeri offers up a real mix of moods and emotions. (Sony Classical G010004513880O ★★★★)
Though he was responsible for some of the world’s most beloved works of fiction, it’s a chapter from Roald Dahl’s true family story which forms the heart of To Olivia. In the film we meet Dahl, and his wife Patricia
Neal, trying to come to terms with the death of their young daughter. It’s all beautifully done and the original music by Debbie Wiseman plays a big role in painting a picture not just of the family’s grief, but also the beauty and joy that lingers in their memories. It’s a perfect canvas for Wiseman, who always writes so eloquently for intimate drama; her captivating orchestral palette – with the piano at its centre – is applied both firmly and tenderly. (Decca 356 6750 ★★★★)
Trying to separate fact from fiction is par for the course when watching The Crown, which continues to compel audiences on Netflix. The recent fourth series signals the end of Olivia Colman’s reign as Elizabeth II, but I hope it’s not the last we’ll hear from composer Martin Phipps, who has brought a haunting quality to Peter Morgan’s riveting drama since Series Three. This album takes in the highlights of the composer’s work on the fourth series, which continues some threads sewn in the third, whilst adding thrilling new ideas. Charles and Diana’s troubles are cast with an innocentsounding synthetic vocal and the iciest of strings; more horror story than fairytale? (Sony Classical 19439815892 ★★★★★)