I must admit that I find film composer concert works fascinating, especially when the composer in question never seemed the sought who would ever attempt it. The idea of Danny Elfman writing for the concert hall was something I always rather hoped would happen, but never imagined it would, however a commission came his way and, seemingly for the first time, composed for orchestra without visuals to guide his writing. As the title implies, Serenada Schizophrana is stylistically varied, indeed the composer has noted that he expected to write something that would have an overarching structure, like he would with a film score (although, presumably, with even greatly clarity and purpose) but instead wrote a series of miniatures. However, it would be disingenuous to suggest that they are totally disparate and certain elements and thematic fragments unify them most effectively.

Perhaps the most surprising thing about the work is how much it clearly sounds like Elfman and yet his most obvious mannerisms aren't included; the cascading string triplets are out, oompah bass lines are infrequent and, despite the presence of a female chorus, there is no lalala choral decoration. Having said that, the opening movement, Pianos is actually less strikingly Elfmanesque than the others, indeed a couple of moments almost put to mind John Williams. However, I think it's the very occasional triumphant tutti rather than any specific Williams riffs. Blue Strings, on the other hand, recalls Elfman's finest string writing in scores such as Sommersby and Black Beauty where he first showed his immense talent for haunting composition, without any of the twinkling fantasy elements that had previously seeped in.

A Brass Thing and The Quadruped Patrol are perhaps the most strikingly Elfmanesque (albeit with touches of Herrmann). The former starts out in strident, slightly oompah style, but he takes the material and weaves into impressive variations, including a little melancholy jazz, but the martial rhythms of the opening soon return only to be displaced by a flute cadenza; an unusual, but effective conclusion. The rhythmic writing continues in The Quadruped Patrol, perhaps the most obviously filmic of the movements. One could easily imagine some group of fantasy beasts prowling a darkened forest. While the thought of operetta usually makes me want to vomit, one from Danny Elfman actually seems very appealing based on I Forget, where the female chorus shines, singing in Spanish. The opening very vaguely recalls the opening of The Wedding Song from Corpse Bride, but this is an altogether more melancholy affair. Based on his writing here, an entire musical/opera/operetta by the composer would be something to relish.

Bells and Whistles is, effectively, the finale, building to a series of dense brass clusters that slightly echo the almost triumphant moments of the opening movement, but soon gave way to an uncertain coda into which the work fades to nothing, leaving the listener wanting a resolution that won't quite come. The rather curious End Tag doesn't provide that resolution either and seems a strange and awkward appendage and one that surely wouldn't work in a concert. Improv For Alto Sax is distinct from the Serenada and is a nice enough miniature, but rather insubstantial next to the rest. The Hollywood Bowl Orchestra under John Mauceri are largely fine, although very occasionally lack that final precision in the brass and occasionally in the strings that, for example, the Sinfonia of London (who performed on Batman) might have brought to it. Still, another seminal moment in Elfman's career and one of the most assured first concert works I can think of from any film composer. Terrific stuff.

Rating ~

1. I Pianos (7:02)
2. II Blue Strings (10:10)
3. III A Brass Thing (7:57)
4. IV The Quadruped Patrol (2:57)
5. V 'I Forget' (6:25)
6. VI Bells And Whistles (8:09)
7. End Tag (0:50)
8. Improv For Alto Sax (2:46)

Total Time ~ 46:16