Page 339 - Royal Liverpool Philharmonic Coverage Book 2023-24
P. 339

Sony Classical 906443 (reviewed as 24/96 WAV). 2024. Danny Elfman,
               prod.; Peter Cobbin, Kirsty Whalley, Dennis Sands, Patricia Sullivan, engs.

               Performance ****½

               Sonics ****


               It's time to go out on a limb. Are Danny Elfman's Percussion Concerto and
               the other works on his new album "great music"? Should this classical

               music, from the former lead singer and songwriter of new wave band Oingo

               Boingo—who composed film scores for Pee-Wee's Big
               Adventure, Beetlejuice, and Spider-Man, and whose music

               introduces Desperate Housewives and The Simpsons—be in the same
               conversation with Albéniz, Scriabin, Ligeti, Glass, Gluck, Brahms, and

               Beethoven, whose work appears on our other Recording of the Month

               candidate, Yuja Wang's Vienna Recital?


               All I know for certain is that Elfman's new Sony Classical recording, with the

               Royal Liverpool Philharmonic Orchestra conducted by JoAnn Falletta, is a
               helluva wild ride. Sometimes exuberant, sometimes eerie, frequently brash,

               and overflowing with color and contrast, it's filled with more frenetic energy

               than unleashed by all the espressos a Starbucks franchise can prepare in
               the 62 minutes it takes to listen to the album all the way through. Great

               music or not, it's an album you're going to want to play over and over on
               your best sound system.



               Elfman's new album is a wild ride, but it's not a one-trick pony.
               Depending upon your criteria for system showoffs, this may not be an ideal

               candidate to replace the best RCA Living Stereo and Telarc titles of veteran
               audiophiles' dreams. The photos in the scanty liner notes reveal more

               booms and microphone than many of us encounter in our lifetimes. Parts

               of the stage in Liverpool Philharmonic Hall look like a land mine. I can't
               begin to imagine the nightmares that mix engineer Dennis Sands must

               have experienced before sending the result off to Patricia Sullivan for

               mastering. Even if they—and recording engineers Peter Cobbin and Kirsty
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