The album opens with Welcome the Queen a very Walton-esque ceremonial piece that is among many that were written when the Queen did anything more exciting than cough loudly. Such British ritual is rather passé now, but this kind of music has a pleasing, stirring patriotism. The patriotism is continued in the Royal Palaces suite which is enjoyably glossy, in a rich, Elgarian way. Bliss' music for Caesar and Cleopatra didn't actually feature in the final film after various problems led to the composer leaving and the music ultimately being written by Georges Auric. Whether it would have been suitable or not, it is more than engaging enough to stand alone. The feisty Overture is perhaps too insistently British to have worked in context, there is little feeling for period, but on its own is a blazing way to begin. The Sea is a more refined, impressionistic mood piece, but the three Dance Interludes are exciting, if rather brief.
The album's centrepiece is of course Things to Come which, according to the notes, was an instant hit, even though the film was not. The selection here attempts to present the music as originally written, although how absolutely authentic it is still seems open for debate, but whatever the case, it is indeed a triumph. The two most famous extracts are the somewhat Elgarian March and the charming Ballet for Children, a playful outing highlighting woodwinds. However, much of the rest is churning and more potently dramatic, particularly the bleak World in Ruins and Pestilence. Bliss' musical depiction of industry is perhaps rather literal, the clanking percussion of Excavation, Building of the New World and Machines contrive to echo the sound of machinery, but with a grimly determined brass marching theme overlaid. The triumphal Epilogue is as grand as any coronation march and a grandiose finale to a superlative half hour.
The album ends with the brief theme from War in the Air, an expectedly stirring and brassy showpiece, a perfect way to conclude. The performance by the BBC Philharmonic is fine, although whether Gumba's interpretation is faithful I couldn't say, although the performance feels right, with a good dramatic narrative and from that point of view, can be deemed a success. The acoustic is distinctly concert hall, but this is of no detriment, in fact it enhances Bliss' bristling, but lush orchestration. The liner notes are interesting and extensive, particularly regarding Things to Come, even if the convoluted story of the score's history could perhaps have been shortened to allow for a little more detail on the music and film. Bliss is a prototypical post Elgar British composer and anyone with an interest in British film music of the era will find this indispensable. Marvellous.
Rating ~ 
Total Time ~ 73:11