According to the inlay notes, Franz Waxman wrote 144 scores in a 32 year career as a Hollywood composer. Given this profusion, it is quite a surprise that so few of his scores have been released or re-recorded. I must admit that I don't connect with Waxman's music as much as that of his peers, although I don't really know why. However, when distilled down to well constructed suites, I am more convinced and if any conductor can help convince a sceptic of the quality of a film composer's music, then Charles Gerhardt is that conductor. The choices here are perhaps more generally well known, than the usual mix of famous and obscure on other Gerhardt albums, but Waxman's music probably wasn't as well known as it is today and as such, the selection is well chosen.
The album is bookended by two of Waxman's Korngoldian adventure scores. Although less flashy and romantic than Korngold, Prince Valiant is a worthy successor; from the heraldic fanfare main theme, the sinister melody for the villain (which, as has been noted, is very similar to Goldsmith's theme from The Shadow) and of course some romance. Taras Bulba is represented by the oft recorded Ride to Dubno, not a piece I have much affinity with. The clip clop percussion give it the feeling of silent movie chase music so instead of being thrilled, it has an almost comedic absurdity, even though its persistence is quite exciting after a while. Waxman's first Hollywood assignment was The Bride of Frankenstein and what a debut it was. Admittedly a score with a whiff of cliché today, but there is no denying the effectiveness of the throbbing, impressionistic orchestral effects, plus deft a use of the theremin (or similar).
Waxman's two Oscar winners are present; A Place in the Sun is a surprising mixture of sultry saxophone and dramatically swelling Hollywood strings, although the suite is comprised effectively, so that the two ideas compliment each other, rather than fit together uncomfortably. After the recent release of a lengthy re-recording of music from Sunset Boulevard, I'm inclined to feel that the score works better as a suite, than a full length album. Waxman's first score of four for Hitchcock and the composer's own favourite, Rebecca receives a thoughtfully laid out selection that features all of the score's major ideas. Old Acquaintance and The Philadelphia Story (nothing to do with cream cheese, I am assured) are less well known and receive more token treatments. The former is a brief, but lovely elegy for strings and harp that swoons its way to an ecstatic climax, while the latter is much more boisterous, although Waxman's fondness for the saxophone is evident in the orchestration of the love theme.
Even though I can't find my way with some of his full length scores - which, I should add, has nothing to do with their quality, but you can't always like everything even if you appreciate its quality - this album gets a good amount of play time. Waxman falls into the earlier part of the golden age along with Steiner and Korngold, he is therefore one of the composers who defined the Hollywood sound from that era, but his music more than any other sounds today like the cliché. That is not meant as a criticism, I promise, but for younger listeners unfamiliar with his work, I suspect the sound of melodramatic black and white Hollywood movies will induce a grin. The National Philharmonic play for all their worth and Gerhardt seems to have brought out the right type of sound, notably the glissando strings and other effects of The Bride of Frankenstein. Highly recommended.
Rating ~ 
Total Time ~ 53:33