Is there a Doctor in the house?

What better way to spend Halloween than in the company of some monsters, and that was just the kids. Yes there were a lot of little people present at the final Cardiff show of the BBC’s Doctor Who Live yesterday but you know what? The kids are alright…. Because this show is all about them. There was much to enjoy for the young at heart as well though as all the best monsters from Series 1-5 of the BBC’s flagship Sci-Fi spectacle were wheeled out before us under the guise of an intergalactic circus, of sorts.

The ringleader was the colourful bouffant-haired Vorgensen, played by the brilliant Nigel Planer, who began as a showman with a gimmick to show off – ‘the minimiser’ to be exact – and ended up the perfect Panto villain as his gimmick turned out to be a rouse to capture The Doctor alongside his plethora of Cybermen, Scarecrows, Smilers and Vampire Vixens (aka The Vampires of Venice, aka Saturnyne) – a veritable zoo of Who beasties. I won’t give any more away, but as with any Doctor Who adventure all is not quite as it seems and a deeper evil may just be behind the events unravelling before us.

The Doctor himself was of course not present in physical form, but on screen in a series of well played-out exchangess with Vorgensen – and the audience. This, and the entrance of various monsters into the auditorium, obviously takes its cue from the wonderful Doctor Who Proms whose physical interactions with favoured (or feared) villains remains a highlight of both years in the Albert Hall. This new ‘Live’ concept though works on a different level, with a story at its heart, and in that sense is a far more enjoyable ‘show’ for the key demographic – i.e. kiddies.

Once again – and ultra important from my perspective – music played a huge role in the proceedings, though this time scaled down from full orchestra to a scintillating band of thirteen. Under the command of The Doctor’s favoured conductor and arranger Ben Foster, these guys and girls made an awesome sound, which I simply wasn’t expecting. They brought to life Murray Gold’s themes with heaps of pizzazz and a dollop of chutzpah, absolutely giving the BBC National Orchestra of Wales a run for their money. Themes from across all five series made an appearance, supporting both the monsters running amok and also big screen montages of some of The Doctor’s adventures. Filler this might have been, but it worked beautifully; I am in fact a sucker for a good montage and these, underscored so eloquently, inspired some eye-watering… but only a bit.

With tickets starting at £25 this would by no means be a cheap trip for a family and when you add in the endless merchandise available – including the ubiquitous glossy £10 programme – there is a sense that the BBC is cashing in somewhat on its prize pony… but that said people are lapping it up and having a bloomin’ good time while they’re at it, and who can say fairer than that when the outside world is so chock full of real life doom, gloom and monsters.

Monetary matters aside, this is a wonderful show, a sci-fi pantomime of sorts and everyone involved ought to be mighty proud of it. Doctor Who just keeps getting bigger and better doesn’t it?



Just a final word I think, as I’m bleating on about the good Doctor and his music. Silva Screen Records have come up trumps with not one, but two lavish, immense and brilliant collections of original music from the series’. It seems Doctor Who soundtracks are like buses… you wait two years for a new one and two come along at once (well, ish).

‘Series 4 – The Specials’ hit stores a few weeks ago and it has been a long time coming. Indeed I was at the recording session for ‘The Next Doctor’ over two years ago and then ‘The End of Time’ this time last year, so I for one have been chomping at the bit to hear some of this stuff again. It’s all great stuff of course, but the second disc – devoted to ‘The End of Time’ – is just extraordinary, showcasing what is absolutely Murray Gold’s finest work. ‘Vale Decem’ is on repeat currently… Check it out if you haven’t yet.

‘Series 5’ is on CD this week… oh yes, it’s another double disc set and is another stunner I can tell you. Having written the programme notes for the Prom again this year I was already party to some of the tracks and arrangements on this new album, but there is far more besides, in fact there is something from each of the thirteen episodes of Matt Smith’s inaugural series. It’s a brilliant collection, setting out on CD just how versatile a composer Murray is. The depth of emotion so apparent in prior series’ remains, but there is a fairytale elegance to some of this recent stuff, not to mention a maturity, that speaks volumes for how much he has grown as an artist, how much braver he has become and just how talented he is. Listen to ‘The Time of Angels’ against ‘Amy’s Theme’ and then ‘Battle in the Sky’ and you’ll know what I’m talking about.

The team are busily getting the Christmas Special music together, so there is – as ever – plenty more to look forward to. Good times, Doctor.


Doctor Who Live continues it’s UK tour in Liverpool on 2-3 November, then finally in Belfast on 6-7 November. Silva Screen Records’ two new albums – plus soundtracks for Series 1/2, Series 3 and Series 4 – are available right now at www.silvascreenmusic.com.

Big thanks to Ben Foster, and David Stoner at Silva Screen Records.

Wilde & Wonderful

It’s been a while since I wrote anything here, so I thought it was high time I got back into the swing of blogging. Time just seems to run away doesn’t it? Still, the world of film music (and more besides) goes on and while I’m not going to spend any time looking back at what’s been going on since I last ‘blogged’, I would like to share my thoughts with you on a recent visit to London for a ‘Wilde & Wonderful’ evening of words and music.

This was no ordinary concert, for it was a select few who were gathered in the Egyptian Ballroom of Mansion House (a gorgeously gilded space which is at once breathtakingly lavish and strangely intimate). Aldermen, Masters and even the occasional ‘celeb’ were brought together beneath the towering columns to celebrate and support Treloar’s College, an absolute gem of a place.

In the wilds of the Hampshire countryside the lives of young physically disabled children are being changed, for the better, on a daily basis as Treloar’s School and College supports, educates and nourishes these youngsters, preparing them for adult life. There are many success stories, as we discovered at the concert, with some students going on to university. One such former student Hannah Fielding read a self-penned poem about what the school and college has meant to her; it really was the perfect dedication, realising in words why we were all there and confirming how important it was that vital funds were raised to help the school and its students grow further still.

Having been invited by Debbie Wiseman to contribute the programme notes and presentation script for the concert (the latter to be read by Sir Terry Wogan, no less) I felt I was able to do my bit for the show and it’s inspiring cause. I was delighted to be able to attend as well and see it all come together, with the talented young musicians of the Junior Trinity Symphony Orchestra performing a varied programme under the baton of both Debbie Wiseman and their principal conductor Andrew Morley.

Having a youth orchestra perform was an inspired idea. We were there to celebrate the young people of Treloar’s, and to have a band of youngsters help us do that with music was just wonderful. They had their work cut out too as this was no easy programme. Sure there were a couple of classical standards (‘Air on a G String’ and ‘Salut D’Amore’) within the programme, but the majority of the running time would go to Debbie’s own music. ‘The Selfish Giant’ and ‘The Nightingale and the Rose’ formed the heart of the show, with actors George Layton and Cheri Lunghi performing Oscar Wilde’s captivating narratives. While excerpts from both pieces had been performed at other events, it was just stunning to hear the whole piece (story and music) live. The music is of course simply gorgeous, perfectly underscoring Wilde’s creations with heartrending beauty and visceral tenacity in places.

I was genuinely impressed with the orchestra who took on these effervescent compositions admirably, not to mention the likes of Britten’s ‘Playful Pizzicato’. That piece supported a brilliant performance of the poem ‘Jim’ from Robert Powell. Particular mention must go to the pianist – apparently just 14 – whose measured performance shone during ‘The Nightingale and the Rose’, not to mention the bird’s song itself which was played just perfectly by the solo flautist.

With a rousing performance of Wiseman’s ‘Wild West’ from Wilde (accompanied by a bit of dodgy clapping from us) the show came to its conclusion and those of us not signed up for a posh dinner went into the night with a nightingale’s song in our hearts.

Suffice to say it was a great success and much needed funds were raised for the school and college’s new building programme which will see them moving to one site so that they can continue the inspiring work they do with these very special young people.

If you'd like to learn more about Treloar's School and College or indeed make a donation, then get yourself to http://www.treloar.org.uk/

Eat Me: Andreas Constantinou's 'Wonderland'

Sweetness and dark are all around in Wonderland, especially for boys and girls with dark and inquisitive souls. If that’s you then read on…

The long awaited follow up to Fistful finds Andreas Constantinou on top form, opening the book on a fairytale collection of characters with a story to tell. Some are victims of their beauty (‘The Maiden’), while others are sly predators, concealing plenty and taking all (‘Beautiful’).

Like any fairytale there are shadows in the corners and cracks beneath the surface, but with that darkness comes an abundance of colour as the talented singer/songwriter and performer (he really is a proper Jack of all things, including hearts I shouldn’t wonder…) weaves his evocative poetry through song.

Playing the part of storyteller, participant and indeed accomplice, our narrator unravels his creations and infuses them with infectious rhythm, memorable riffs and a well considered selection of instruments. Autoharp and ukulele are the major voices behind the music, while guitars, piano and percussion lend support throughout. A dusting of synthetics play their part too, looped and immediate in ‘Beautiful’ while, ‘Slither’ uncovers an edgier vibe as the melody and riffs swagger and saunter their way.

‘Wonderland’, being the title track, is something of a standout amongst a set list already standing to attention with its vivid and creative instrumentation - not to mention something of a trip following the bridge – while the all too short ‘B.U.G.’ finds a cannibalistic beast of storybook proportions taking centre stage, the fluffy-sweetness of the delivery belying the brilliantly grizzly subject.

Further highlights include the gorgeously quirky curtain raiser ‘Autumn’, the energetic ‘The Hunter, The Hunted’ and the brilliantly evocative ‘Pandora’. In all cases Constantinou’s vocals reveal a talented performer with a real twinkle in his eye not to mention an imagination both fertile and frenzied.
Drawing the selection to a close far too early for my liking is ‘Lullaby’, which manages to be at once wistful, awkward and entirely uplifting and ends the trip through Wonderland beautifully. I can’t get enough of this; it really is a fabulous, fantastical, indie-folk feast... Gobble it up.

For more information visit www.andreasconstantinou.net

Albums, Oscars and A Single Man

Ahh, there are only so many hours in the day. Fact. If I were to sit and listen to all the music on my desk in one go, I’d probably have grown a considerable amount of facial hair by the time I was done (and then I’d turn around and there would be even more CDs on the doormat).

It isn’t easy, deciding what to give optimum reviewing time to, particularly when you’re the only regular reviewer for a website that needs constant updates and attention in other areas – news, articles, artwork… It’s all about time management you see, which is even more difficult when you remember that you don’t get paid for a single thing you do. There’s a ‘real’ job to consider, not to mention a life away from ‘the desk’. It brings me, often, to wonder why I do this. The answer? I love film music. Fact.

It occurred to me this morning – in fact it occurred to me last week when I was able to do absolutely nothing about it – that with all my spare time and focus going on Music from the Movies.com, I haven’t given anywhere near enough time to this blog. That makes me sad, because I really rather enjoy hacking away at this thing and sharing my thoughts across a variety of scores, events and moments. So today, this glorious Tuesday in March, seems like the best time to do so. I had expected to be working on a triple feature on multiple Oscar-winning film The Hurt Locker, but as is often the case Rudy’s enthusiasm for his subject has seen him delving ever so much deeper into the film, the music, the people and their collective hidden depths. With that in mind I am left with time to ponder the pile in front (and behind) me.

There are CDs in a line to my left in my in-tray… These are ear-marked for my ‘full attention’ and include Christopher Young’s Creation, Shirley Walker’s The Flash and a recent British re-recording of Bernard Herrmann’s Citizen Kane and Hangover Square. I’m excited about the latter, for I love Bernard Herrmann.

Beneath the desk are more piles, one is a pile of discs I have already reviewed (phew!) and the others are titles that haven’t made ‘the cut’. That seems a bit harsh I guess, but there are only so many hours in the day and I can’t review everything. But perhaps this is as good a time as any to give at least some of them the attention they deserve?

There’s a rather nice album of music by Ryuichi Sakamoto, released at the end of 2009 by Decca, called ‘Playing The Piano’. This particular copy is a Deluxe Edition and includes the album ‘Out of Noise’ as a bonus. I’m rather partial to a bit of piano music, particularly solo, experimental stuff… I adore the Einaudi’s and Nyman’s of this world (though I suppose there are only one of each, ha) and I think Sakamoto can sit comfortably alongside. Anyway, ‘Playing The Piano’ finds the composer at the keyboard performing solo piano versions of his film works. The obvious ones are accounted for, and stand out, i.e. Merry Christmas Mr. Lawrence and The Last Emperor. The latter is a favourite of mine and the piano rendering is rather special… I have to say I did hope for something from his gorgeous contribution to the Babel soundtrack, but it isn’t here and we’ll have to live with it. ‘Bibo no Aozora’? I think.

Nuzzled next to that is Chris Young’s effervescent Drag Me To Hell, which I frankly can’t get enough of. As soon as I saw the track ‘Concerto To Hell’ I knew it would be a bit special. Such a title usually means the composer was inspired enough by their own creation to have a play around with it and create something fun and exciting. Elfman is good at doing that as well – as his rather listenable album for The Wolfman shows. I don’t have a hard copy of the latter score… but I imagine I would have given it my ‘full attention’ if I had. (An insight: It’s hard enough to keep on top of actual physical CDs, let alone albums that I can’t see or touch… So if it’s on my hard drive it is not going to get a review. Fact.)

MovieScore Media are ever so prolific, which makes my job harder than ever and I find I have to be ultra picky. Daniel Pemberton’s Attila The Hun is marvellous, really, and Jeff Grace’s I Sell The Dead is rather infectious and brilliant – how could it not be, the man is fantastic. Suffice to say I hope to give Jeff’s The House Of The Devil my fuller attention in the not too distant future. I’m a big fan of Alfons Conde as well, and Guy Farley, so it pained me to have to demote both The Beckoning and Knife Edge to the lower pile. Both are dark and brooding and beautiful in places – the former, by Conde, features some super choral work. MovieScore really do love a good horror/thriller it seems, and I’m always up for that.

I have a pile of German albums to get through, courtesy of our friends at Cinema Musica… Richard G. Mitchell’s Der Seewolf remains in the upper pile for now – it’s rather good. The others, including Annette Focks’ Romy and Karim Sebastian Elias’ delightfully Zimmer-esque Das Geheimnis der Wale, have bags of charm and are hugely listenable. Such discoveries make me happy and remind me – which needs to happen – that there is more to film music than what comes out of Hollywood and London. Again, only so many hours etc. blah blah; you know the score.

La La Land Records are another prolific label and I very much enjoyed their double album of music from The Fugitive by James Newton Howard. I can’t say it’s one of his most inspiring scores for me personally, but it’s good to have such a generous presentation of a major title. Their release of John Frizzell’s Legion was also welcome. Once again Frizzell has created an immediate sound for the score.

This week saw the 82nd Academy Awards… The Oscars used to be a highlight of the year for me; there was a time when I would stay up until the wee small hours, with a flask of coffee to keep me awake. That was before Sky Movies took over the broadcast and I don’t have it, so my experience of the last few years’ ceremonies has been after the fact. With the announcement of no song performances this year, I felt as though I wouldn’t be missing out on much. Then, when a little bird informed me that the nominated scores would be presented through interpretive dance, I knew it was best left alone. I immediately recalled the last time they did ‘Dance The Score’; horrific memories of a man stomping and slapping about on the stage to John Williams’ ‘Hymn to the Fallen’ make me shudder even today. Why, AMPAS? WHY?

Still I was pleased with the result this year. Michael Giacchino is a great composer – certainly busy – and I’m chuffed that his beautiful score for Up stole the show. Sure it wasn’t edgy, or even cutting edge like the other nominees (save for Fantastic Mr. Fox, which was similarly charming and simplistic). Up is a classic, emotional orchestral score in the old tradition and I’m glad the Academy were won over by its charm. I'm hoping that Walt Disney Records will finally see fit to release the darn thing on CD now; come on Disney, a Golden Globe, two Grammys, a BAFTA and an Academy Award and we can't even put the album on the shelf?!

I was surprised not to see Abel Korzeniowski’s A Single Man in the list this year. His score – which featured additional music by the great Shigeru Umebayashi – was nominated for a BAFTA. I saw the film this week and was blown away by the music… Everything about the film was beautifully considered, every frame, every colour tone (and change of tone), while the music was part and parcel of the film’s design. At times it would bend out of shape, distorting along with George’s world view and sense of self, then it would flourish with the most incandescent beauty. Ultimately a simple score, with emphasis on strings, it added so much to the film experience. There’s a moment in the score where the score takes on the soul of Bernard Herrmann, as George’s world is coloured and warmed by the appearance of a sweet, innocent, pretty girl. It was a real Vertigo moment and it made the hair on the back of my neck rise. Genius. The album is available from Relativity Records it seems… I need it.

There’s plenty more to say, more discs lurking beneath the desk and more besides lurking in my mind; but I will leave it there for now. Anyway, I think it’s time for a cup of tea – what can I say? I’m British. Fact.

Music to make merry by...

‘Christmas is coming, the Goose is getting fat…’ though if I continue to stick my hand in the various boxes of biscuits and sweets that are the desk fodder of the festive season then I won’t be far behind the Goose myself. Thankfully I walk everywhere, so any gluttony on my part is soon forgotten with a few strides. Where am I going with this? Oh yes! Christmas music. There is of course an abundance of the stuff and whether you’re a fan of classical, pop, rock, hip hop (shudder) or folk music then chances are there are an array of festive themed tunes and ditties available for your listening. When it comes to film music there is of course plenty to choose from and my iPod’s Christmas Playlist (oh yes, it’s true…) is chock full of some real classics. There is something about a Christmas film score that manages to set the mood just right… Sure there aren’t as many opportunities to sing along, but put on a few cues from, say, Home Alone or Miracle on 34th Street and I guarantee your heart will be full of cheer and all the lovely fluffy feelings that the Big C is supposed to invoke.

While I haven’t got everything that’s out there, my playlist does include some of the big ones and I urge you to grab the following and play them now (well, after you’ve read this perhaps… actually stick something on to listen to while you read, I can wait a tick…)
SO as I was saying… Top of the list for me personally though is the aforementioned Home Alone by John Williams. Not only is it full of warmth and sparkle (celeste and sleigh bells aplenty) there are actually some rather brilliant ‘action’ cues, full of Williams’ trademark brassy flair. If that weren’t enough there are two original songs – ‘Somewhere In My Memory’ and ‘Star Of Bethlehem’ – which are given a handful of airings. The songs were written with Williams’ lyricist of choice during this period, Leslie Bricusse and both were instant classics in 1990 and the former at least has gone on to become a fixture in Christmas concerts the world over. I don’t think ‘Star Of Bethlehem’ is heard enough though, the melody and orchestration being suitably heavenly. Throw in a handful of well chosen source tunes – including Mel Torme’s version of ‘Have Yourself a Merry Little Christmas’ and The Drifters’ ‘White Christmas’ – and you have what is probably the quintessential Christmas soundtrack album.

With the sequel two years later came not one but two albums, this time giving Williams’ second score more room to breathe on its own release, with a collection of songs nicely filling the standard soundtrack disc. Once again the composer deftly created a whirlwind of comedic action, syrupy sparkle and yet more original songs – this time the sweet ‘Christmas Star’ and the joyful ‘Merry Christmas, Merry Christmas’ (again both composed with Bricusse). While it faithfully follows in the (snowy?) footprints of the first score, there are plenty more highlights and with the addition of an adult choir rather than the children of the first score, it all feels just a bit more mature. ‘Christmas at Carnegie Hall’ finds Williams putting together a lovely selection of traditional melodies, a highlight of the playlist for sure.

Using traditional/existing music within a Christmas film score is something that composers tend to rely upon more and more these days and a wealth of scores – including Alan Silvestri’s most recent offering for Disney’s A Christmas Carol – are guilty of this. One of my favourite examples of this came years before Home Alone was even thought of though, and the score is itself one of the hardest to find and even then Santa Claus – The Movie has only been released on LP and Cassette! Henry Mancini’s ‘Christmas Rhapsody’ is a brilliantly arranged selection of Christmas tunes, used over a montage of decades and centuries passing as the legend of Santa Claus evolves and engrains itself into the world’s consciousness. The album – released by Polygram in 1985 – is fairly short and it remains a sought after title on CD… The reasons for it not being available on CD in any form are unclear – likely complicated and legal - but with the recent surge of unreleased scores in mind, perhaps it’ll happen one day. Like Home Alone, Mancini’s Santa Claus features original songs co-written with Leslie Bricusse and with the rest of the composer’s very listenable score in mind, it’s a fine companion piece to Williams’ later work.

Flash forward nine years and pick up Bruce Broughton’s Miracle On 34th Street, which was thankfully released in complete form by Intrada Records a few years ago now. The original Fox Records soundtrack album was a major find for me years and years ago and the ‘Overture’ never ceases to bring about a real feeling of the season. The larger score features a scattering of lovely thematic threads and some wonderfully festive fare, including several Bach-style original source cues. The soundtrack album is brief-ish, but is very well considered collection which features the likes of Kenny G, Natalie Cole and Elvis Presley – great tunes!

James Horner’s The Grinch (aka How The Grinch Stole Christmas) divided many upon its release in 2000, much like the film itself. The film is kinda crazy yes, but it has some charm and Horner’s score is a dazzlingly chaotic blend of orchestra, crazy percussion and effects… ‘The Heist’ is a favourite cue on the album, while the finale moments are hugely uplifting. The original soundtrack album from Interscope Records combines a selection from the score – annoyingly mixed with occasional dialogue soundbytes – and an eclectic song set. The CD and score have grown on me hugely over the years and the majority of the songs offer an enjoyable alternative to the usual fare, with ‘Green Christmas’ by The Barenaked Ladies being a particular favourite. Horner’s own lyrical contribution, ‘Where Are You Christmas?’ performed by Faith Hill, isn’t the most festive creation in the world, and the film version (performed by Taylor Momsen) is thoroughly irritating (definitely one to leave from the playlist).

Now The Muppets may not be your cup of tea, but their Christmas Carol is a staple of my seasonal viewing. Walt Disney Records re-released the film’s soundtrack three years ago as part of Kermit’s 50th Anniversary. Paul Williams’ songs are as bright and jolly as they come, while the late Miles Goodman’s score is a fine accompaniment. The songs overshadow of course, being a musical, and it’s no worse off for it.

The truth is I could go on and on and this blog entry is already dangerously long I think. You will each have favourite festive film music moments and they might include: Elf by John Debney, Jingle All The Way by David Newman (released by Intrada last year), A Christmas Carol: The Movie by Julian Nott – featuring a song performed by Kate Winslet no less – Dimitri Tiomkin’s It’s A Wonderful Life, The Snowman, by Howard Blake, All I Want For Christmas by Bruce Broughton, Silver Bells by Mark McKenzie, all three of George S. Clinton’s The Santa Clause outings, not to mention Alan Silvestri’s duo of The Polar Express and A Christmas Carol. Perhaps The Nightmare Before Christmas by Danny Elfman is pushing it, but if you begin to feel Christmassy earlier in the year than most, then perfect.

Of course the majority of Christmas films spawn largely song-led albums (Four Christmases, Christmas With The Kranks, The Family Man…) with their scores left unreleased or barely registered. The classics remain though and steadily they’re becoming available on CD – all we need is that little bit of Mancini magic from 1985 and the Christmas film music wish list is complete.

Merry Christmas!

The Pink Ribbon Gala

Not only is Debbie Wiseman a wonderfully talented film composer, she also has a big heart and a generous spirit. All of the above were on display last night at London’s Cadogan Hall, where Debbie put on a very fine show, and all for charity.

The Pink Ribbon Gala was organised by the composer to help raise awareness and vital funds for Breast Cancer Campaign, one of the UK’s leading Breast Cancer charities. With more than a little help from her friends – namely the Royal Philharmonic Orchestra, broadcasting legend Simon Bates, and a handful of stars from stage and screen – Debbie presided over a lovely concert programme of accessible classical music, not to mention a good many of her own works for the screen. The theme was certainly words and music, with specially selected pieces by poets such as Oscar Wilde, T.S. Eliot and Hilaire Beloc read to music from Wilde, Tom & Viv and a portion of the composer’s beautiful accompaniment for ‘The Nightingale and the Rose’ (as composed for the grammy nominated album of Oscar Wilde Fairy Tales).

The RPO were in fine fettle as ever, at home certainly on their own stage, and with images projected overhead, they accompanied Cheri Lunghi – reading Eliot’s ‘Five Finger Exercises’, Timothy West – who read Wilde’s gorgeous ‘Serenade for Music’, George Layton – in charge of the aforementioned ‘Nightingale and the Rose’, and the ever-brilliant Prunella Scales – reading Beloc’s grizzly ditty ‘Jim’, about a small boy who lets go of his Nanny’s hand only to be eaten by a hungry Lion.


The texts were well chosen and worked really very well against the music – both were given time to breathe, which was a blessing and while they were all marvellous, the highlight was surely ‘Jim’, set against Benjamin Britten’s ‘Simple Symphony: Playful Pizzicato’ There were instances of music without words, with the show opening to the tune of Bach’s sobering ‘Air on a G-String’, while Debbie’s own suite from ITV’s My Uncle Silas perked things up in the second half. Selections by Borodin and Holst – the former’s gorgeous ‘Nocturne’ from his second string quartet and the latter’s always-frolicsome ‘Finale’ from his ‘St. Paul’s Suite’ – were well received during the first half, with the latter putting a spring in our steps on the way to the bar!

You can always rely on Debbie Wiseman to have something new up her sleeve and this occasion was no exception. For the last few years she has been working with Oscar-winning lyricist Don Black on a new musical called Feather Boy. Originally staged with an all child cast a couple of years ago as part of the Shell Connections series on London’s South Bank, the pair have revisited the idea – based on Nicky Singer's award-winning children’s book – and have filled it out and readied it for the West End stage. It’s certainly been a labour of love and I know that Debbie was very pleased to be able to unveil one of the centrepiece songs from the new show. ‘Nothing Grows On Gold’, performed by the delightful Mary Carewe, proved itself to be a classic showstopper with some real wind beneath its wings. The show itself is set to debut officially in 2010…

The evening fluttered by it seemed and the room was filled with a lot of spirit and good will. Ending the show with an encore of ‘Wilde West’ from Wilde, Debbie had us clapping along, with a handful of unashamed yokels offering the off ‘Yee Haw’ to boot. It was a jolly end to a very pleasant evening of music and words and I think it was without doubt a big success for Breast Cancer Campaign. Well done to all involved for putting on a marvellous show.


If you’d like to find out more about the work that Breast Cancer Campaign do, or if you’d like to make a donation then please visit www.breastcancercampaign.org/.

A Great Event: Nature's Great Events

Bristol’s Colston Hall has been at the forefront of its busy music scene for countless years and after a number of rebuilds during its life, the latest upgrade – a £20m extension of glistening foyer, box office, dining, bars and performance spaces – is just the latest facelift. It’s an impressive creation and is a fine improvement, giving the old hall (with its renowned acoustic) the kind of entrance space it deserves, bringing it well and truly into the 21st century.

Ten days of celebrations are underway with over 2000 local musicians and performers involved in heralding the next stage in the venue’s story. With this in mind, the organisers wanted something special for the centrepiece event and they came up trumps with Natures Great Events.

Screened on BBC One earlier this year, Natures Great Events was classic Natural History Unit television, charting more wonders of the world’s animals, their behaviours and the delicate surroundings that form an essential part of their very existence. Supplying the music for the series were Bristol based composers Barnaby Taylor and Ben Salisbury who have each cut their teeth on Natural History productions. For Natures Great Events though, the pair very much took a leaf from George Fenton’s score pages and gave the often jaw-dropping images suitably emotional and epic music. With that in mind, it seems a logical idea to take that music into the concert hall and, played along with specially edited images projected onto a big screen, make a spectacle of it all. And that’s exactly what happened tonight at Colston Hall.

It was very much a once in a lifetime opportunity and the sell out crowd were treated to a specially created six movement symphony of sorts, with conductor William Goodchild leading the brilliant BBC Concert Orchestra through Barnaby and Ben’s music and if that weren’t enough each movement was introduced by none other than Sir David Attenborough himself. It was quite bizarre to sit and listen to ‘The Great Man’ – as he was introduced and described to us – so famous is that soft, well considered voice. To have him there was a real treat and he received a standing ovation before he’d even done anything, so high is the regard and affection with which he is held.

Natural History film is always the most real drama a composer could wish for when creating music and the array of scenarios presented here offered the composers the chance to be creative, comedic, dramatic and emotional. Frolicking cubs were underlined with jovial refrains on mallet percussion, mating Dragonflies with quasi-celestial twinkle, while Lions - near-starved and barely clinging to life - were met with emotive woodwind passages. It was the wide open vistas of the great African plains, grasslands and icy oceans though which saw the orchestra take flight, offering grandly sweeping gestures for strings and brass, while the larger, more ferocious sights gave rise to swathes of percussion. ‘A Heavy-weight Battle’ in Movement II (The Great Flood) was one such example, while the militaristic might of the final movement (The Great Tide) in which a ‘Super Pod’ of Dolphins, joined by sharks, whales and sea birds, mass an attack on millions of sardines off coast of South Africa, was a stunning display. It truly was a battering, with infectiously rhythmic percussive lines – performed with support from local percussionists – and was a brilliantly rousing finale to the piece. A similar scene was featured in The Blue Planet and I thought it would be hard to top Fenton’s brilliant cue ‘Sardine Run’ and while it differs greatly – being more of a 'march to battle' – it managed to raise the hairs equally.

The music and images of course went hand in hand, one supporting the other in all kinds of ways, and as often happens with this kind of performance, it was easy to forget you were in the presence of a live orchestra, so engaging were the images on screen. The sight of huge Humpback Whales feeding on herring by literally scooping entire schools of them from the surface with their bellowing mouths was just one of the many amazing highlights... The lasting shot for me though is of two Polar Bears, seemingly marooned on a lone iceberg in the Arctic Ocean; a poignant note about the future of the poles and the effect global warming will have on those beautiful beasts…

So with more standing ovations and a word or two from the composers themselves, the orchestra went on to perform a specially-composed encore. Played along with footage of the making of the series and introducing the amazing cameramen responsible for what we had seen, it was a free-spirited, celebratory denouement.

Natures Great Events really was Bristol’s great event and those of us lucky enough to attend were left in no doubt that this city really has a lot going for it right now. Congratulations to all involved and let’s hope Colston Hall can offer its stage to more events like this in the future.


You can find out more about upcoming events at the new look Colston Hall by visiting the venue’s website – www.colstonhall.org

With thanks to Paul Preager at Colston Hall