I always approach compilation CDs with caution – often they reveal themselves to be cut and paste jobs of film score and pop pieces designed to bring in a few bucks – and ‘best of’ CDs are frequently anything but. However, from time to time a real treat comes along. Take Silva’s two-disc Bernard Hermann and Elmer Bernstein sets for example, great summaries of two masters’ wonderful careers. Now Douglas Romayne isn’t as well known as Herrmann or Bernstein but his sampler, Expressing The Inexpressible, certainly shouldn’t be dismissed. It’s surprisingly varied considering Romayne’s early career, and by the same standard very impressive.
The disc gives an idea of how versatile Romayne’s musical abilities are, from the lofty disconnection of Freedomland to the dark threat of Entity Nine, the jovial, bouncy Rocketboy to the fantastical fairy-tale-style ‘Suite for Beatrix’. The composer certainly seems very adaptable to many scoring situations – however it is his dramatic work that stands out. Freedomland contains the strongest selection of cues found here, and manages to balance dreamy, almost detached strings and a cosy intimate feeling brought about by the small ensemble. The palette of mostly strings and woods is a calming combination, producing serenity and warm hues and textures. At all times Romayne keeps melody at the centre of the music and even recalls some of Delerue’s melodic sensebilities, the same delicate phrasing and lovely atmosphere.
Sunday Paper p.2b is a similarly gentle selection around a small ensemble – which Romayne proves he can use to full effect, even without augmenting it with electronics – which never deviates from its melodic centre. The score is light-hearted and uplifting, sustained by sparing use of vocals. Beyond The Silence continues with much the same instrumentation but shifts in mood to a more removed feeling. For a large part the strings are strained and distant, broken by the heartfelt paino-led ‘Unspoken’ that echoes some of Dario Marianelli’s best work.
Percussive bounciness abounds in Rocketboy, a fun romp based on playful electronics and some live instruments. It never loses its jovial yet charming edge and is a nice contrast to the otherwise rather sedate (but still excellent) selections. An ominous atmosphere hangs over Entity Nine which relies not so much on the sparse, delicate instrumentation of the other scores but bulky, thick textured samples. While this helps showcase how Romayne can cater for diverse genres, it’s less enjoyable than the other scores. The final piece, ‘Suite for Beatrix’, is arguably the best standalone track on the album. The piece sounds as if it were crafted to accompany some make-believe children’s-story, with its heavy use of celeste, how the playful interplay between flutes, brass and strings frolics around the enduring main melody and it all builds in a Thomas Newman-esque wondrous fashion.
Time and time again I keep discovering how much talent is out there resting with relatively unknown composers. And time and time again I keep encouraging readers to check it out! I hope it doesn’t sound like I’m playing the same tune, but this is sincerely a great anthology of lovely, whimsical and playful music from a composer who writes in a reassuringly thematic prose and crafts lush melodies and emotion out of sound.
Freedomland: Beautiful mixes gentle woods and strings to create an airy, distant atmosphere.
Rocketboy: Rocket In Flight is a quirky pop-flavoured piece that remains constantly enjoyable and charming.
Sunday Paper p.2b: Morgana's Gift again highlights the melodic centre of Romayne’s music and his use of small ensemble.
Beyond The Silence: Unspoken is a truly emotional piece that recalls the best work of composers such as Marianelli.
Suite For Beatrix has many stirring passages, not least among them this exciting frenzy of building instruments, culminating in the main theme.
The album is approximately an hour long with 35 tracks. Go to Douglas Romayne's website to hear the whole thing!
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