I love watching how Lockhart, official Guest Conductor of the BBC Concert Orchestra, scrupulously keeps in sync with not just his orchestra but with his soloist. It’s also a delight to watch at the beginning of the clip Lisitsa curtsying almost shyly to leader Cynthia Fleming.
Valentina Lisitsa, who started out as a YouTube sensation 12 years ago and is now counted as one of the foremost keyboard interpreters of the Eastern European Romantics, gives an intensely satisfying performance here of Addinsell’s “Warsaw Concerto“. The concerto was written for the movies—for, specifically, the 1941 movie Dangerous Moonlight, in which Polish concert pianist Anton Walbrook becomes a fighter pilot for the RAF, falls in love, gets amnesia, and composes some music. The movie, although a success from a propaganda viewpoint, was considered a potboiler by critics, and even the astute Anthony Burgess, who was an army sergeant and nascent composer himself at the time, looked down on the “Warsaw Concerto” as a cheap imitation of Rachmaninoff. Intellectual snobs have derided the piece, but it’s lingered in the memory for lo these many years, and is only now taking its permanent place in the Classic Repertoire.
For that we have to thank composer/film music restorer Philip Lane. It was to Lane that the musical estate of Richard Addinsell was entrusted and, like composer/orchestrator William David Brohn (for Prokoviev’s Alexander Nevsky) and my beloved John Wilson, Lane took on the task of reconstructing by ear written scores for film music whose manuscripts had been destroyed through carelessness or war. (Some suggest that the “Warsaw Concerto” was entirely the work of Addinsell’s orchestrator, Roy Douglas, who died in 2015 at the age of 107.) Addinsell’s—or Douglas’s—”Warsaw Concerto” was one of them. As Lane writes:
“The process of reconstruction does not get easier, but some films are more difficult than others. The biggest enemy is the combination of dialogue and sound effects over the music, and occasionally there are seconds of complete inaudibility when guesswork has to replace authenticity. The greater the composer, the more difficult the work, on the whole, since the melodic and harmonic language tends to be more adventurous. In the case of recent scores there are usually soundtrack CDs devoid of extraneous sounds to work from, but despite the change in status of film music, present day composers still mislay their scores. I have reconstructed music by Jerry Goldsmith, Randy Edelman and James Horner in the last year alone. If the composers are still alive I obviously encourage them to do the reconstruction themselves. So far, they have declined for various reasons.”
- “The Story So Far, with Conductor John Wilson”
- “The Story So Far; Or, Conductor John Wilson—His Limits”