Customer Reviews

The Film Music of Clifton Parker

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Clifton Parker scored quite a few films with maritime elements following the success of his tone-poem Seascape (included here), which in turn was derived from a film he had scored (Western Approaches). As Clifton was able to express the feel of being at sea on a sailing ship with uncanny, possibly unequalled vividness in a number of his scores, he may be most noted for that talent. However he was also a superb composer for a range of subjects and his orchestration skills more than held up their end.

Perhaps most widely seen today, the (rightly) classic 1950 film of Treasure Island contains some of Clifton's most memorable work. For this film, he undertook quite a bit of research into music of the period (sea shanties, folk song, etc) and incorporated it into his score. In addition to his noted gift for evoking the sea, there are a number of wonderfully apt sequences and motifs for action, humour and more. An outstanding score. If the sound elements still exist, Disney should have released a soundtrack of the score (but have probably neglected to do so). The closest thing we have that I'm aware of is the fine suite created for this release by Philip Lane.

While the above suite is the flagship here, there is much more to enjoy. Night of the Iguana offers a more action-oriented angle with plenty of vigor. Clifton was similarly outstanding at a very different project, providing some historical pieces for the Tudor age costume film The Sword in the Rose which are strikingly restrained and true to the period they are representing. Both of those films and their scores have tended to be under-rated. A short subject concerning a train, Blue Pullman is quite different again yet Clifton's music is again perfect. There is still more to be enjoyed in this generous package, much of which are the only recordings and releases of the music outside the film soundtracks themselves.

In a release such as this it's worth noting that Clifton's music and the adaptations and reconstructions of it for this presentation by Philip Lane are, by and large, enjoyable as music listening apart from the films they underscored. Rumon Gamba and the orchestra perform admirably with polish to spare. The sound is pleasing and musical, in keeping with Chandos' classical releases.

Finally a couple notes: the booklet is available to peruse at Chandos' website (at the time of this review) and when speaking of sound I refer to the CD release, as I have not heard the download versions.

Have a wonderful musical journey.