|The production's soundtrack music appears on Ellsworth Hall's classical album Conversations with George Edgar Selby (album cover painting by Ellsworth pictured below).|
The album is in two parts. The first part contains a newly orchestrated/recorded version of Ellsworth Hall's Piano Concerto No. 1. The second part features the movie soundtrack.
Ellsworth performs playing a Steinway grand piano along with the vibrant sound of the Czech Philharmonic Orchestra.
On the Composer's Oeuvre - A review of Conversations with George Edgar Selby
By Boulevard Denim
Ellsworth Hall occupies a peculiar place, entirely of his own creation, in the field of contemporary music. He is a seeker after the realities of shadowy and dim illusions, an artist in grays and greens and subtle golds while still dabbling in opulent purples. Mr. Hall is of the "children of revelry," a weaver of dreams. For him, indeed, shadows and dreams are the invincible realities, and from them he derives a compelling music; music which serenely rebukes dissection.
That serenity, that innocence of intention, are indeed remarkable. After the plangent splendors, the torrential rhetoric of his earlier works, Mr. Hall's contemporary oeuvre, owing something of the subdued and elusive beauty of antique tapestries, addresses the spirit with a unique appeal.
His is music in which the emotion conveyed is the emotion of remembered rapture, the beauty, "the surviving beauty of gathered dreams;" seldom the emotion and beauty of that which is actual and present. Mr. Hall is most urgently aroused by such moods of longing and remote enchantment as find jeweled expression in Beside the Manor Selby for which he has written unforgetable music.
At times his habit of artistic speech tempt him to such outbursts of passionate lament as fill the movements of his Piano Concerto No.1 with so insupportable a poignancy. There is the driving rhythmic asymmetry of the opening movement; the decorative flourishes surrounding the resurfacing primary theme in the second; the modal and jazzy harmonies of the third; and the adroit use of fortspinnung (along with recapitulations of a leitmotif from the second movement) in the fourth.
Mr. Hall perceives his world with as rapt a gaze, with as complete an absorption in its emotional panorama, as the most vivid and declamatory of the moderns; but the issue of his understanding is certain veiled and continent intensity, an interior passion, a conviction implied rather than than declared. That is, finally, the peculiarity of his art.
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