One of my esteemed colleagues listed several styles of horror score, all of which seemed to emanate from Jerry Goldsmith, but I think it would be careless (to say the least) to rule out the dozens of horror scores around before Goldsmith, especially one rather famous string based score by Bernard Herrmann. However, before Psycho, shocks in horror were somewhat less graphic and more psychological, so by modern standards, The Bride of Frankenstein isn't frightening music, indeed some of it is quite light hearted. The Main Title introduces the famous three note motif for the Bride; it's one of those ideas that seems instantly recognisable, yet the reason why remains elusive. However, the ensuing tracks are more light hearted, particularly the charmingly lilting Menuetto and the lovely pastorale. Around these relatively light episodes, Waxman's musical atmosphere is more uneasy and occasionally breaks into more immediately threatening, notably the Village Chase and Crucifixion. The Creation sequence is where the three note motif comes to the fore. Curiously, the liner notes suggest that no electronic instrument was used (Ondes Martenot or Theremin), but a discreet, synthesised note is used to make the motif swoon that little bit more.
As the score is fairly modest in length, Silva have included selections from some other of Waxman's best known works. Having said that, The Invisible Ray isn't exactly a classic, but has some nice moments, particularly the low key love theme. Prince Valiant is a fan favourite, often cited as being a good score for younger fans to try out. I must admit it's never grabbed me in the way I thought it should, but the suite is great and features all the score's swashbuckling highlights. Suspicion and Rebecca represent some of Waxman's work for Hitchcock and the latter is often heralded as his finest score and Waxman's own favourite, the evidence here only enhances that view. The former maybe less famous, but it's just as pleasing, particularly the Korngoldian Prelude, with its shimmering woodwind runs, followed by the jaunty Sunday Morning. The Ride to Dubno from Taras Bulba seems a bit like an obligatory inclusion and is not one of my favourite pieces of Waxman, just a little too much old fashioned galloping for my taste.
This re-release is of the world premiere digital recording of The Bride of Frankenstein and Kenneth Alwyn and the Westminster Philharmonic do a fine job. There are a couple of minor errors and some of the faster moments are just a little ragged, but it does add a rugged rawness to the more propulsive passages, which almost works to the music's advantage. While the strings don't quite swoon as on the Gerhardt suite, the discrete synth does a good job of helping them along. The other selections receive fine performances, with only a couple of instances during Prince Valiant when the playing isn't entirely together. The recording ambiance is ideal, with none of the harsh, boominess that spoils some Silva albums. A fine album that should please Waxman fans and novices alike, well worth picking up.
Rating ~ 
Total Time ~ 73:02