Composer Stephen Edwards may not be a household name to many film music fans. But thanks to releases on MovieScore Media, his work is being heard more and more. And if PIANO MUSIC FROM THE MOVIES, VOL. 1 is any indication, he’s quite a talented pianist as well. The disc features Edwards at the piano in a 45-minute solo recital of music from 18 different films.
Many of the most famous piano themes are here, such as Elmer Bernstein’s classic TO KILL A MOCKINGBIRD (one of the few instances on the album where I missed the warmth of the accompanying strings). Other films which prominently feature piano in the score include lesser-known gems like Marvin Hamlisch’s haunting and spare SOPHIE’S CHOICE and John Williams’ sweeping, pianistic theme from SABRINA.
One of the many joys of the disc is the inclusion of scores off the beaten mainstream path. Of particular note are two tracks from Johnny Mandel’s score for BEING THERE, which has never been released in any form. Edwards played from Mandel’s own handwritten score for the haunting “The Room Upstairs,” while the ghost of Erik Satie hovers over “Goodbye Louise.”
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Click Track: BEING THERE – The Room Upstairs
Edwards gives the disc an international flair with selections from numerous foreign films. Vladimir Cosma’s “Sentimental Walk” from DIVA revives a film, score and composer that should be better known. The suite from Ennio Morricone’s popular CINEMA PARADISO is particularly moving. Gabriel Yared’s “le Petit Nicolas” from BETTY BLUE showcases Edwards impressive pianistic skills. For COUSINS, the American version of COUSIN, COUSINE, Angelo Badalementi composed one of his most haunting themes. Edwards’ simple rendition tugs at the heartstrings with this tender waltz.
The open Americana harmonies of James Horner’s FIELD OF DREAMS are given a spare, tender reading. Selections from THE SHAWSHANK REDEMPTION and LITTLE CHILDREN showcase Thomas Newman’s more adventuresome harmonic progressions. One of the most successful tracks is the piano reduction of Alex North’s beautiful love theme from CLEOPATRA, in which Edwards imbues North’s biting harmonies with a subtle jazz flavor.
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Click Track: CLEOPATRA – Antony and Cleopatra’s Love
Not every selection works completely. “The Portrait” from James Horner’s TITANIC feels stale, but mainly because of the overexposure of the theme rather than through any fault of Edwards. Morricone’s main theme from ONCE UPON A TIME IN AMERICA is still lovely, but the piano reduction misses the ethereal beauty of the soprano and full orchestra.
Normally, discs like this make me cringe. I usually prefer the fully orchestrated versions within the storytelling realm of the complete scores. However, these crystalline arrangements boil down the music into a simple, pure essence. The infinite variety between well- and lesser-known titles and composers thankfully keep the disc from turning into just another “greatest hits” collection.
PIANO MUSIC FROM THE MOVIES, VOL. 1 provides a consistently pleasant listening experience. Thanks to Edwards’ musicianship tickling the ivories, the album makes for an enjoyable, contemplative listen.
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