MUSIC FROM THE MOVIES OUTSTANDING TELEVISION SCORE (by Andrew Keech)

medias: Internet / Print / Fanzine (UK) reviewer: Andrew Keech reviewer’s rating: 5 / 5 publication: September 1, 2004 http://www.musicfromthemovies.com

Serge Franklin has been composing almost exclusively for television since the late 1970s, which is to some extent surprising as his style of complex, heart-rending music would suite the big screen far better than many of the light-weight scores that have graced (or should that be grazed) film music enthusiasts ears in recent years. How refreshing it is, therefore, to be able to hear his music on compact disc. His wonderful scores for the television dramas Une Petite Fille Particuliere and Le Prince Des Imposteurs have recently been released by Disques Cinemusique and now Lympia Records have released L’Enfants Des Loups in their limited edition “Signature” series. The television drama about clashes between pagan and Christian beliefs was made in three ninetyminute programmes and is set at the end of the sixth century. The story tells of small girl found living in the snow with wolves who is taken in by the ex-Queen Radegonde of the Gaules, now living in a monastery. When a hard winter, famine and plague devastate the population, the wolves invade and only the “wolf” child can save the remaining inhabitants.

From the outset Serge Franklin’s music is utterly captivating. The opening bars, played on a breathy flute with a solemn kettle beating time, introduces a beautiful theme that becomes the centrepiece of the whole score. The instrument combination and the haunting simplicity of a wonderfully memorable piece is highly comparable with the best of John Barry’s scores. An impression that is confirmed by the startlingly passionate choral chant that builds in the second cue, ‘Kyrie’, of a similar ilk to The Lion In Winter and The Last Valley. The score is packed with similar skin-tingling, intense choral cues that vary from the monastic (‘Fils Et Royaumes’ and ‘Danse Des Sacrileges’) and to the soaring excitement and romance of cues like ‘Ecce Como’ and ‘Chants De L’Aube’ as well some utterly fantastic Medieval choral sounds in cues like ‘Cantique Barbare’ and ‘Danse Des Sacrileges’. Mixed among the choral cues are heart stopping, powerful orchestral cues that appeal to every emotion; tragedy, romance and joy, with the flute sliding the wonderful thematic motif into the quieter moments. It is difficult to summarise the score better than the sleeve notes description of “An Opera Of Sound And Fury.” The superb sound quality and the lavishly illustrated, sixteen page sleeve notes coupled with eleven previously unreleased cues support one of the most outstanding television scores ever written. This is a limited edition release and is bound to sell out rapidly. For those that appreciate an intense orchestral and choral score, this score is highly recommended. Brilliant !

MOVIE WAVE

OUTSTANDING DRAMA EPIC SCORE (by James Southall)

media: Internet (UK) reviewer: James Southall reviewer’s rating: 4.5 / 5 publication: September 1, 2004 http://www.moviewave.net

It is no secret that sometimes, to find the very best in life, whether it be food, literature, art or music, one often has to step off the beaten track. In terms of film music, staying on that beaten track can offer copious delights, but occasionally stepping off it renders rewards just as delicious. One such instance is Serge Franklin's score for L'Enfant des Loups, a French television miniseries shown in 1990 and not any more successful than any other such show. However, the impact of Franklin's music on film music fans was great and the music was released in that country shortly after the show aired. Such a situation, however, especially given the composer's virtual anonymity outside his homeland, did not lend itself to the music being discovered through the rest of the world, but thankfully the advent of the internet in the intervening years hopefully means that situation can now change. A new record label, Lympia Records, set up by several of the people behind the TraxZone French language film music website, has released an expanded version of Franklin's music for its first release. And what a release! This is rich symphonic and choral music full of colour and passion. The opening "Prologue" introduces what could be seen as the main theme, with period influence (the series is set in the 6th century, so there is obviously little or nothing directly suggesting that, but it does sound suitably "old"!), first presented in a relatively low-key guise. Things quickly hot up with the stunning "Ecce Como", a choral piece with chanted Latin (well, I presume it's Latin) which is exciting and dramatic. There is wonderful action music, arguably led by the strident "Cantique Barbare", with the brassy orchestra accompanied by choir. A more solemn tone can be found in the emotional "Supplique du Vent" before this turns to the downright darkness of "Apocalypse", which is clearly very similar to Howard Shore's most dramatic moments in the Lord of the Rings trilogy, music written a decade later. While some of the choral music is chanted and dynamic, elsewhere Franklin employs a wordless, haunting choir to add an air of beauty. There is a real depth to the music which is quite rare these days. The epic period story covering many aspects of life in 6th century France enabled Franklin to compose equally epic music. I'm sure that it will appeal to a great number of film music fans, though the album is limited to 1,500 copies so you'd better get in quick. I'm itching to hear more of Serge Franklin's music - if it's anything like this then he is a true unearthed talent. Think of what Lord of the Rings may have sounded if Georges Delerue had scored it and you begin to imagine what L'Enfant des Loups is like - by that, I mean that it features the epic stylings of Shore's work while also being based around the kind of exquisite melodies that Delerue threw around at the drop of a hat. You're unlikely to find too many albums as good as this one released in 2004. Highly recommended.

JEFF HALL’S FILM BULLETIN POWERFUL ORCHESTRAL/CHORAL SCORE (by Jeff Hall)

Limited to just 1500 copies, Lympia Records have released an extended version of Serge Franklin's score for the 1991 miniseries L'Enfant des Loups. A 6th century fantasy, Franklin furnished the film with a powerful orchestral/choral, utilising the forces of Prague's FYSIO Symphony Orchestra and Khun's Choir. This is music of great beauty and power, with the choir singing in Latin, sometimes in religious mode, at others almost animalistic, as in "Danse des Sacrileges."

media: Print (London, UK) reviewer: Jeff Hall publication: August 2004 (page 58)

At times a female soloist cuts through the combined choral/orchestral forces to provide sublime moments not unlike those present in Howard Shore's Lord Of The Rings scores; and there are some pretty strident action cues. Franklin himself contributes to the French and English notes that feature in the illustrated 16-page booklet that accompanies the disc. Presented in excellent stereo sound, with more than 20 minutes of previously unreleased music, I urge you to grab a copy before they're all gone. But don't take my word for it, visit enfantdesloups.com and check out the samples there.

SCOREFILIA

MUSIC ESPECTACULAR (by Marti Mesquida)

Después de varios retrasos de producción ya se encuentra disponible la edición expandida, remasterizada y (cómo no) limitada de la banda sonora de L'ENFANT DES LOUPS (1990), una coproducción televisiva de Francia y Checoslovaquia ambientada en la edad media que trata sobre na niña criada entre lobos y sobre los conflictos entre los ritos paganos y el cristianismo de la época.

media: Internet (Spain) reviewer: Marti Mesquida reviewer’s rating: 4.5 / 5 publication: August 19, 2004 http://www.scorefilia.com

Esta nueva edición es el estreno como discográfica de Lympia Records, empresa constituida por un electo grupo de productores estrechamente relacionados con la música de cine, algunos de ellos provenientes de la veterana web francesa TraxZone.com. La declaración de principios de esta discográfica se basa en la calidad por encima de la cantidad, y qué mejor forma de demostrarlo que con esta extraordinaria partitura de Serge Franklin. El descubrimiento de este compositor me llegó a través de A TALE OF TWO CITIES (1989) y posteriormente con JALNA (1994), ambas muy recomendables si uno es capaz de encontrarlas a un precio racional. Resulta sorprendente ver como algunos compositores, después de superar el reto de que sus trabajos sean editados en CD, observan con impotencia como sus discos dejan de estar disponibles al cabo de poco tiempo de su lanzamiento. Esta fue la suerte que corrió la primera edición de L'ENFANT DES LOUPS, producida por el sello Hortensia en 1991. Pero hablemos ya de la música. Nos enfrentamos a una música espectacular pero en ningún caso gratuita, con cariz épico y espiritual, en algunos momentos casi operístico. Algunos verán la sombra de CONAN THE BARBARIAN (1982) en esta partitura, pero sólo en el sentido de la intensidad orquestal y vocal. Y es que en esta partitura las voces son tan protagonistas como la orquesta misma, entablándose un discurso casi continuo entre ambas a lo largo de todo el CD. El coro combinado (el famoso coro Kühn de Praga) aporta básicamente el tono místico-religioso en que se basa la miniserie, mientras que la orquesta se concentra en cimentar la vertiente épica. La variedad temática es otro punto fuerte de L'ENFANT DES LOUPS. Ya en la obertura encontramos un gentil tema con flauta y oboe solistas, y casi sin pausa entramos de lleno en el primer tema retentivo, el Kyrie / Dies Irae, un potentísimo canto apoyado con orquesta y percusión que alcanza niveles sonoros aplastantes. Le Cri des Loups es el segundo tema coral más memorable, esta vez algo más suave y benigno, basado en la sección de cuerda y con coro femenino. Como ejemplo de uso épico de la orquesta tenemos A la Recherche de Vanda, un tema que bien podría caber dentro de la música de la Trilogía del Anillo. Por otra parte, es especialmente emotiva la combinación de voz y orquesta en Supplique du Vent, nos recuerda un poco la sensibilidad de nuestra adorada HEAVEN & HEART (1993). Sin duda Serge Franklin mantiene ocupados a todos los 60 miembros de la orquesta FYSIO de Praga, percusiones incluidas, todo un ejercicio de sinfonismo y orquestación. No puedo comparar esta nueva edición con la anterior en términos de calidad sonora, pero no hay duda que el trabajo de remasterización y remezcla es excelente. Y por si esto fuera poco, tenemos casi media hora más de música respecto al CD de 1991. Está por tanto plenamente justificado el que se haya rescatado y abrillantado esta grabación, aunque por otra parte no podemos callarnos que el hecho de ser edición limitada reste algunos puntos a esta iniciativa.

SOUNDTRACK.NET EPIC, THEMATIC, AND POIGNANT (by Mike Brennan)

Serge Franklin's epic score for the 1991 French film L'enfant des Loups (The Wolves' Child) was rereleased in June 2004 by Lympia.net, featuring previously unreleased music and artwork by Patrick Larme. Franklin is a prolific French composer, whose credits include numerous films and television productions, as L'enfant des Loups was. The CD is also available at www.soundtrackcollector.com. The music was originally released in 1991 in France with the FYSIO Symphony Orchestra and Kuhn's Choir.

media: Internet (USA) reviewer: Mike Brennan reviewer’s rating: 3.5 / 5 publication: July 24, 2004 http://www.soundtrack.net

The music is classically influenced, with layered string textures and oboe solos making up the majority of the score. The main theme is gorgeous and Franklin uses it throughout the score in many variations and passing it between sections; the chorus even performs it in "Fils et Royaumes" and "O Vos Omnes". The overall feel of L'Enfant des Loups is similar to Joe Hisaishi's Princess Mononoke, with the use of a prominent string theme and choir. Franklin also uses the choir to create a darker, more urgent feel with a deep chanting in Latin ("Dies Irae", "Maledictis"). The use of Latin is a very interesting choice, but gives parts of the score an authentic feel, similar to Alan Menken's score to The Hunchback of Notre Dame. Franklin uses some unique instrumentation in certain parts of the score, such as the female vocals in "Le Livre des Lumieres" and the clapping and haunting vocals in "Danse des Sacrileges". The unreleased tracks included on this album are not just filler music from the film to add length to the disc, but prominent tracks that add much to the listening experience. The first release opened with "Ecce Como", the third track on the new album. The first two tracks, the prologue and the overture are really one cue divided into two tracks and present the main themes and choral elements in a compact suite, which begins the album well. Another unreleased track, "Vanda and Albin", is towards the end of the album and builds upon the themes in an uplifting, romantic cue. Unfortunately, the film L'enfant des Loups is not available, at least in the United States, though if the music is anything to judge by, I would love to see it. Franklin's score is epic, thematic, and poignant. The tone of the music does not vary as much as in Princess Mononoke, for example, but the end result, even with the added tracks, is a cohesive score featuring brilliant performances all around.

INTRADA

SWEEPING MELODY, POWERFUL CHORAL IDEAS (by Douglass Fake)

Original soundtrack from epic three-part middle ages saga, originally broadcast on TV in France. Serge Franklin tackles story of 6th-century Gaule, plague and famine, young girl and wolves with gargantuan work for orchestra, chorus.

media: Record label / Store (USA) reviewer: Douglass Fake publication: August, 2004 http://www.intrada.com

Composer opens in delicate manner, exploits numerous dramatic ideas, wraps with dynamic statement for full ensemble. Haunting minor-key main theme for woodwinds in "Prologue" a Delerue-ish standout. Rhythmic choral theme for "Kyrie" another exciting highlight. (Ironically, both pieces were deleted from original 1991 album.) Franklin conveys period feel with modal quality to main themes but avoids literal imitation, aims for dramatic, emotional weight instead. Action appears but plays secondary role to sweeping melody, powerful choral ideas. Special expanded release has everything from previous album plus 11 previously unreleased tracks. Hidden track offers bonus reprise of finale. Mario Klemens conducts FYSIO Symphony Orchestra, Kuhn's Choir. Limited edition of 1500 copies. Knockout !

CINESCAPE

SIMPLY PURE AND VIVIDLY BEAUTIFUL (by Randall D. Larson)

From France comes the first release of a new label called Lympia Records. In a limited edition of 1500 copies, L’ENFANT DES LOUPS (Child of the Wolves; LRCD-4101) is the score for a lavish 3part 1991 TV Mini-Series directed by Philippe Monnier. Taking place in the 6th Century, a young girl is discovered lost and living among wolves; when she grows up and plague and famine occupy the land, the wolves invade and only the girl can save the town.

media: Internet (USA) reviewer: Randall D. Larson publication: August 6, 2004 http://www.cinescape.com

The score, by Serge Franklin, is a thoroughly wonderful and magnificent symphonic composition of epic proportions, punctuated by powerful, chanting choruses and operatic solo voices. The score is described as a barbarian opera of sound and fury, which isn’t far from the mark. The music is wondrous, magical, poignant, epic, and persuasive. The main theme is a soaring orchestral and voice melody that is simply pure and vividly beautiful. The music is richly evocative, vigorously performed, and harmonically textured. The release includes notes on both the film and its music as well as a detailed analysis of the music from the composer; the booklet notes are presented in both French and English. The CD is newly remastered and resequenced, and includes over 20 minutes of previously unreleased material. I’m not familiar with the original release of this score, but Lympia’s edition is both an attractive and wonderful presentation of a fine and notable score. www.enfantdesloups.com

CINEFONIA

PUISSANCE ET DENSITE (by Vivien Lejeune)

media: Print / Fanzine (France) reviewer: Vivien Lejeune reviewer’s rating: 5 / 5 (CF d’Exception) publication: July 2004 / N° 6 / Page 8 http://www.cinefonia.com

La musique de films a son monolithe. Excusez la tournure personnelle des quelques phrases qui vont suivre mais lorsque l’on me demande quelles bandes originales me tiennent le plus à cœur, je réponds systématiquement que L’ENFANT DES LOUPS fait inexorablement partie de mon Top 10 absolu, et ce depuis le début et très certainement pour toujours… Ainsi, entre THE SECRET OF N.I.M.H. de Jerry Goldsmith, HENRY V de Patrick Doyle, DARK CRYSTAL de Trevor Jones, THE EMPIRE OF THE SUN, les sagas STAR WARS et INDIANA JONES de John Williams ou encore, plus récemment LEGENDS OF THE FALL de James Horner et la trilogie du SEIGNEUR DES ANNEAUX de Howard Shore, la mémorable partition de Serge Franklin occupe bien plus qu’une place de choix au sein de ces écoutes émerveillées et passionnantes. A l’espoir d’avoir l’occasion de revoir un jour les trois téléfilms réalisés par Philippe Monnier et diffusés en 1991, s’ajoutait donc le désir d’en entendre ne serait-ce qu’un peu plus…

Grâce à cette nouvelle Special Signature Edition, ce vœux est largement exaucé: dès l’introduction (Prologue), Serge Franklin prend le temps de nous préparer avant d’ouvrir les portes d’un sixième siècle empli de pauvreté, de neige, de Peste et de sang. Le thème principal ne s’impose plus de suite, comme si l’on revenait dans un pays que l’on croyait connaître par cœur mais que l’on prendrait plaisir à contourner pour la première fois. Difficile de se détacher d’un album que l’on a tant écouté (première édition: Hortensia CD CH 705 / 49:22) et pourtant, on se laisse très vite prendre au jeu. L’intégralité des morceaux (connus ou non – le Cd comportant près d’une demieheure de musique supplémentaire) bénéficie d’un tout nouvel agencement permettant à la partition en son ensemble de gagner encore en intensité et en émotion. Pour ceux qui ne seraient pas encore initiés, L’ENFANT DES LOUPS est une bande originale orchestre / chœur d’une puissance et d’une densité rarement atteintes à la télévision (française de surcroît), une combinaison sacré / païen de toute beauté au service du destin moyenâgeux imaginé par Régine Deforges dans son roman LA REVOLTE DES NONNES. De Dies Irae à la Fille Des Loups, le compositeur ose énormément (il va même jusqu’à composer selon le nombre d’or – voir le livret du Cd, très intéressant et explicatif) et sa musique participe pleinement aussi bien à la simple narration qu’au contexte lui-même, c’est à dire à ce monde de l’entre-deux: la fin des croyances surnaturelles et des légendes au profit d’un avenir plus humain, bien que le chemin soit encore long à parcourir… Et c’est bel et bien de cette dualité obscurité / lumière que naît la fascination, Serge Franklin a su capter l’essence d’une époque pour mieux l’adapter à l’histoire et non l’inverse. Si son approche peut sembler particulièrement répétitive – le thème principal étant décliné de nombreuses fois-, ce n’est que pour mieux nous happer du début jusqu’à la fin. On est pris dans un engrenage, dans un tourbillon dont lui seul pourra nous faire sortir (d’ailleurs, n’arrêtez pas la lecture du Cd dès la fin du dernier morceau…). Un grand moment, ni plus ni moins. Ajoutez-y le souvenir du visage ensanglanté de Laure Marsac et vous voilà reparti pour au moins dix ans de plus de dévouement consacré à cette œuvre à part…

FILM MUSIC ON THE WEB AN ESSENTIAL ADDITION TO ANY COLLECTION (by Gary Dalkln)

media: Internet (UK) reviewer: Gary Dalkin reviewer’s rating: 5 / 5 (editor’s recommandation - September 04) publication: September 21, 2004 http://www.musicweb.uk.net/film/index.htm

L'Enfant des Loups is a French TV mini-series originally broadcast in 1991. The drama is described in the booklet accompanying this CD as a "Middle Age melting plot melting pagan beliefs and Christian dogmas amongst snow, blood and fire", while the stills reproduced suggest something along the lines of The Name of the Rose. The series is described in the booklet by Gérard Dastugue as a "barbarian opera" and no one could argue with his statement that it "emphasized a score whose richness could seldom be found on TV." Indeed, Serge Franklin's music strikes me as some of the most ambitious, imaginative and dramatic written for television anywhere. Imagine Ennio Morricone reworking Carl Orff's Carmina Burana with a helping of Nino Rota's Romeo and Juliet and a flavour of the melodic glory Trevor Jones brought to such projects as Excalibur, The Dark Crystal and Merlin.

Choral writing is often to the fore while extravagant melody, often with the melancholy of Morricone or Rota echoes through every track. It is a score of tragedy, grandeur and immense dark romanticism, centred around an epic conflict between dark and light, paganism and Christianity. The vivid choral writing brings a sense of Gothic drama to the score which is at times electrifying, while a solo soprano in a cue such as 'Le Livre des Lumieres' provides a moment of pure beauty amid fatalistic majesty. A flute melody – which recurs through the score – is suggestive of Rota's Romeo and Juliet love theme. The swirling strings of 'La Pierre Levée' together with stark percussion and ominous choir establish a mood of fantasy largely unparalleled in television music. 'La Révolte des Nonnes' has a choral impact to match anything in Jerry Goldsmith's Omen scores, with the performances having a remarkable weight given the choir only consisted of 30 voices. The massive set-piece 'Danse des Sacrilèges' combines hand-claps, percussion and a rather uninhibited choir in a dance of such blistering primitive sexuality as to give Stravinsky a run for his money. This 'Special Signature Edition' soundtrack comes with approximately 24 minutes of previously unreleased music and a booklet in French and English, offering both the above mentioned notes by Dastugue and commentary by the composer, as well as several stills. The album offers a new stereo mix of the music which aims to give it a more cinematic sound than the original TV mix, though it is noted that "some artefacts may still underline the weakness of a recording and a mixing initially aimed at a television broadcast." There is no need to worry though, for even if the sound is not demonstration quality it is rich, full, detailed and powerful, with a warm, lush character which thrillingly envelopes the listener. Like the recently reissued Star Wars soundtrack, the disc ends with an uncredited "easter egg" – an alternative version of one of the main themes. Television, or film, music rarely gets more powerful, extravagant or exhilarating than this work of dark Gothic beauty. L'Enfant des Loups is an essential addition to any collection, and while Serge Franklin is a previously unknown name to me I will be seeking out more of his recordings in future.

FILMMUSIK 2000 THEMATISCH INSPIRIERTE KOMPOSITION (by Mike Rumpf)

media: Internet (Deutschland) reviewer: Mike Rumpf reviewer’s rating: 4.5 / 5 publication: November 19, 2004 http://www.filmmusik2000.de

Wie sehr die amerikanische Filmmusik die hiesige Szene dominiert, merkt man immer dann, wenn praktisch aus dem Nichts eine Filmmusik erscheint, die durch ihre Qualität schon längst hätte auffallen müssen. Doch weil viele Liebhaber von Filmmusik hauptsächlich über den großen Teich blicken, fristet manche Musik ein Schattendasein. Dies trifft wohl im besonderen Maße auf die Vertonung der französischen Fantasyserie L’Enfant des Loups - Das Kind der Wölfe von 1990 zu. Die Fernsehproduktion, die außerhalb des Ursprungslandes quasi unbekannt ist, wurde vom 1942 in Frankreich geborenen Serge Franklin vertont. Franklin, der in den 60er Jahren, inspiriert durch seine Orientreisen zum gefragten Sitar-Spieler aufstieg und in den 70ern für die Renaud-BarraultTheater-Company komponierte, hat seit Ende des damaligen Jahrzehnts über 150 Filmmusiken die meisten für das französische Fernsehen - geschrieben. Ein solcher Komponist müsste eigentlich in der deutschen Filmmusikszene bekannt sein. Doch weit gefehlt - größere internationale Aufmerksamkeit blieb Franklin bislang versagt. Das könnte sich nun ändern, denn die vom neu gegründeten Lympia-Label veröffentlichte Signature Edition von L’Enfant des Loups lässt im positiven Sinne aufhorchen. Für die Serie entstand eine überraschend groß besetzte sinfonische Partitur mit Chor, die die Folklore des Mittelalters mit Elementen der klassischen Kirchenmesse verbindet. Zwischen düster-archaischen Chorgesängen (auf lateinisch) und ausgeprägten Streicherpassagen entwickelt die Musik eine erstaunlich markante Tonsprache. Das Heulen der Wölfe wird zum Beispiel geschickt durch die Hörner imitiert. Schöne Soli der Holzbläser, allem voran der Oboe, verstärken die lyrischen Qualitäten der Komposition. Als originelle Kuriosität erweist sich der wilde, barbarische Tanz "Danse de Sacrilèges" mit seinem rhythmischem Klatschen und der animalischen Lautsprache. Zusammengehalten wird die Partitur von vier prägnanten Themen: Der "Prologue" führt in den Flöten das mysteriöse Schicksalsthema ein, das später als feierliche Liturgie mit biblischem Text verarbeitet wird. Ein düsterer Choral ("Ecce Como") reflektiert den Aufstieg des Bösen. Das einfühlsame Liebesthema ("Le Cri du Loups") bietet in bester Morricone-Manier den romantischen Gegenpol. Ein Drei-Noten-Motiv für die Figur der Vonda komplettiert das Quartett. Dazu treten verschiedene Choräle, die sich zum Teil an die Kirchenmesse anlehnen (z.B. "Kyrie","Dies Irae").

Auch wenn kleine Schwächen in der dramatischen Ausgestaltung merken lassen, dass Franklin über keine klassischen Musikausbildung verfügt, handelt es sich bei L’Enfant des Loups um eine vielfältige, atmosphärisch dichte und thematisch inspirierte Komposition, die unmittelbar ins Ohr geht und ein mitreißendes Hörerlebnis bietet. Das informative, edel gestaltete Booklet, das sehr detailliert auf die Konzeption der Musik eingeht, macht die auf 1500 Exemplare limitierte Edition zu einer rundum überzeugenden Filmmusik-Überraschung und erlaubt auch einen kleinen Bonus in der Bewertung.

FILMSCORE MONTHLY COMPELLING AND POWERFUL PIECE OF WORK (by Andrew Kirby)

medias: Monthly printed magazine / Internet (USA) reviewer: Andrew Kirby reviewer’s rating: 3.5 / 5 publication: Volume 9, Number 8 (November 2004) http://www.filmscoremonthly.com

Little known in the Anglophone world, this soundtrack was recorded in 1990 for a French television drama, L’ENFANT DES LOUPS. A trhee-part epic that lasts four-and-a-half hours, the title traslantes as "Child of the Wolves", which refers to the infant Vanda, who is reared by a pack of wolves before returning to her people. This gives little hint of the brutality that is to follow in this tale of 6th-century France. Years later, following plague, famine and a crippling winter siege, Vanda is forced to choose between her allegiances, and she eventually saves the community by slaying the pack’s leader and even donning her skin. This score story is part of a larger tableau within which nuns give up their faith en masse and the forces of enlightenment and barbarism are placed in tragic and violent opposition. This is a spectacular, almost melodramatic production that explicitly contrasts religious and pagan themes. Serge Franklin writes that the religious motifs were intended to echo the choral works of Gesualdo, an unusual medieval figure who is remembered as much for killing his wife and her lover as for numerous motets that he wrote as his subsequent penance. The Barbaric themes involve horns and extensive percussion; in its quieter passages, the score is reminiscent of Debussy’s equally tragic story of St. Sébastien, but when the large chorus is unleashed (as in "Révolte des Nonnes"), it has the thundering, runaway drama of Carl Orff’s CARMINA BURANA. This is not background music. Over 76 minutes, the orchestra and chorus cover every emotional range, including a sexual chant in the "Danse des Sacrilèges", until it and the listener are literally and metaphorically spent. There seems to be no way to tell how the score connects to the teleplay itself, as the series is unlikely to ever be released here. But it stands alone as a compelling and powerful piece of work. Serge Franklin has been responsible for over 100 scores, and it was this, recorded in Prague with a full symphony and choir, that did much to establish him. Virtually all of his work has been produced in Europe and Canada. The deluxe edition of this soundtrack is restricted to 1,500 copies and is genuine collector’s item; the disc has 10 tracks not included in the original recording, a hidden track (an alternate take of the last cue), and it contains photographs, illustrations, extensive liner notes in French and a slightly shaky, but still interesting, English translation. For those sith a taste for the macabre and all things lycanthropic, this fully deserves a place alongside soundtracks for Ennio Morricone’s WOLF, James Horner’s WOLFEN and Michael Sean Colin’s WOLFHOUND.

SOUNDTRACK.BE EEN GIGANTISCH OF HEROISCH THEMA (by n/a) het verhaal...

media: Internet (Nederland) reviewer: n/a reviewer’s rating: 4 / 5 publication: http://www.soundtrack.be

Aan het einde van de zesde eeuw regeerde Clotaire, koning van Frankrijk over heel Gallië. Koningin Radegonde trok zich terug in een klooster om haar leven nedering uit te leven. Op een dag vonden de gallier Romulf en zijn jonge broer Albin een klein meisje in de sneeuw. Ze heette Canda en leefde tussen de wolven. Ze brachten haar naar Radegonde's klooster waar de koningin haar peetmoeder werd. Na een harde winter en oa. de pest, trokken wolven Poitiers binnen. Enkel een mirakel zou de inwoners kunnen redden... de muziek... 60 muzikanten van het Praags FUSIO symfonisch orkest aangevuld met een koor van nog eens 30 mensen wisten niet wat hun muziek in 1991 te weeg zou brengen. Samen met de driedelige tvserie had de Franse tv zelden zo'n samengaan van beelden en muziek gehoord noch gezien. De muziek van Serge Franklin is af en toe wat dun geschreven en niet altijd komt elk instrument even zuiver of toonvast uit de controle, maar het staat vast dat het geweldige muziek is. Een epos, aangevuld met mysterieuze wolven en een klooster geven natuurlijk ook erg ruime mogelijkheden om met je muziek op reis te gaan. Vele namen van tracks hebben ook een Latijnse naam meegekregen om de band met het klooster te onderstrepen. Het thema komt diverse malen terug, maar is toch het meest pakkend wanneer het door een solo-stem wordt ingeleid en door groot orkest overgenomen in de strijkers. Op een achtergrond van drukke strijkers heft een gemengd koor drukke gezangen aan waar een soort hoorn af en toe een bewust 'valse' noot laat klinken die erg vaak in het album zal terugkomen. Ook de underscore is altijd interessant om naar te luisteren, overal zit wel een melodie of knappe orkestratie wat de aandacht nooit écht doet verzwakken. Af en toe hoor je wel dat het muziek van dik 13 jaar geleden is aan de manier van opnemen, maar het doet zeker geen afbreuk aan het geheel. Voor mensen die houden van een erg klassieke geïnspireerde score en die niet meteen een gigantisch of heroïsch thema nodig hebben. Eentje om écht naar te luisteren dus!

RADIO SOUNDTRACK F-M EUROPEAN WARMTH ALA JOHN BARRY AND CLASSICAL MOVES ALA PATRICK DOYLE COME TOGETHER (by Thomas Glorieux)

medias: Internet reviewer: Thomas Glorieux reviewer’s rating: 4 / 5 publication: December, 2004 http://users.pandora.be/soundtrack-fm

A unique effort it was for Serge Franklin, a unique response was noted after its airing in 3 parts, L'Enfant des Loups was heralded as one of the finest series in bringing movie music to the brink of the grandest scope. Serge Franklin may be known as a big composer in France, in Europe and America, people will wonder what he does in fact when they hear his name. L'Enfant des Loups wants to change that, first released in 1991, quickly the album went out of print, but people soon realized not everything was presented the way it should be, and with a 270 minute movie, who could blame them. Now, 13 years after its airing, Lympia Records re issues the score by Serge Franklin, re mastered and with over 20 minutes of extra material to grace the French music lovers with a strong orchestral / choral score. But what's unique is that the magic also swept to the boundaries of Europe and America. So in fact American dealers of movie music were presenting import releases of this score, and considering I live in Europe it was much easier to get it for a fair price of France. The presentation is nice with a booklet in both French and English, the running time is 76 minutes and more and basically, this score presents a European effort the way I haven't heard many before. Not to say the score is now presenting the next John Williams, but a mix of John Barry and Patrick Doyle is definitely possible since the romanticism and the classical influences are both scattered in a powerful effort which perhaps lasts too long for bringing the same material, but when the orchestra and choir set up a rhythm or a theme's performance, then the magic soars like great movie music does. As said, a clash between John Barry and Patrick Doyle, and Barry is noticeable in the first track already, 'Prologue' presenting a lovely soft theme, repeating slowly its beauty in light epic galore but beautiful romanticism, just like Barry could. Choir then takes over and its unbelievable to hear so much choir from then on (only LOTR presented equally as much choir in a recording), 'Kyrie (Overture)' presenting the theme with choir and strings. A Patrick Doyle (Henry V) is heard in 'Ecce Como', a more unsettling use of choir here along with strings setting the classicism well at its tone. Of course, there are beautiful moments where choir and strings soar to create the most powerful emotion this score has to offer, 'Les Amants du Silence' and the wonderful 'Le Cri des Loups' are strong examples. The first in fact has some small instrumental effects at the end of the track, but as warned in the booklet not everything could be transferred unharmed to the recording status as it is presented. And from then on the mood is set, as is the tone, mostly hearing the theme with choir, it are the moments then on which make a track as similar as the one before or as striking as the highlights we heard already. 'Cantique Barbare' presents a drum and string movement around choir which is nice, a racing suspense feel with racing strings is made for a darker score in 'A la Recherche de Vanda' and a warm orchestral version of the theme is heard in 'Fille des Loups'. It are all brief examples of a more interesting noticeable change in the tone of this soundtrack. A boy's vocal in 'Supplique du Vent', a more somber tone with wailing horns in 'Les Loups dans Poitiers' and a striking usage of fast choir and whirling strings while descending brass makes it almost classical in tone, still 'Dies Irae' stands out as the other ones. Another thing John Barry did was create songs based on the period and on the title's track name, so is 'Maledictis'. 'Le Livre des Lumières' is beautiful, main theme, choir and whirling strings suddenly erupt powerfully to create magic while a heavenly chorus supports softly the mood. 'La Pierre Levée' is actually equally lovely but here the choir and the main theme with the strings are becoming more and more the same. Some difference is noted further, 'La Révolte des Nonnes' creates a rhythmic suspension feeling with bursts of trumpets, choir and bells, 'Dans des Sacriléges' is then the strangest track with handclap percussive rhythm, choir adding an experimental bizarre touch (in retrospect what we heard before that) and 'Le Convoi' adds a weird Western cowboy effect with plucking guitar to that. But it returns wonderfully that symphonic sound with 'Vanda & Albin', once more stating the main theme (often in counterpoint with flute) but especially here wonderfully in the Goldenthal (Alien 3) maneuver of whirling strings emotionally striking as they are. Kilar strings, main theme and angelic choir creating impact in 'La Mort de Romulf' and an absolute striking finish in 'Chants de L'Aube (Epilogue)' finishing with emotional strings and choir, creating the impact a finish is worthy off. 'L'Enfant des Loups' is finishing off that same tone, and adding a retake to that after a minute of silence. Altogether, this score could have been honored with an even better rating if more difference was heard in tone, but the strong constant orchestral and choral flow make somehow everything glide together, and the moments when the whirling strings are heard make this score truly breathless. As said, much is the same and the main theme is heard dozens of times, but here the constant variations are heard in instrumentation and over the strong orchestral play, it hurts barely your pleasure. L'Enfant des Loups is a strong score, but more a wonderful surprise and it are these scores that take me by surprise more then the next MV work or the average movie

MAD MOVIES

ATTENTION, CHEF D’ŒUVRE ! (by Olivier Galliano)

media: Monthly printed magazine (France) reviewer: Olivier Galliano publication: #171 - page 102 (Janvier 2005) http://www.madmovies.com

Attention, chef-d’œuvre ! Lympia Records, un tout nouveau label, réédite le score de Serge Franklin composé au début des années 90 pour un téléfilm en trois parties. Et ils n’ont pas bâclé le travail. Totalement remasterisé à partir des bandes stéréo d’origine (quelques défauts subsistent, mais rien de bien méchant), avec des morceaux inédits et un livret bourré d’infos, entre analyse et notes du compositeur: la claque est totale. L’orchestre symphonique Fysio de Prague (60 musiciens, 30 choristes), dirigé par Mario Klemens, donne une violence à l’ensemble de la musique, « véritable opéra barbare » pour reprendre le commentaire du livret. L’émotion que dégage la musique aux accents moyen-âgeux est presque palpable avec ses chœurs énergiques basés sur des textes liturgiques donnant une touche religieuse à l’ensemble. Une qualité orchestrale indéniable, qui se fait trop rare aujourd’hui devant l’invasion des bidouilles électroniques. Vangelis peut aller se rhabiller cash avec son score d’ALEXANDRE. Un CD absolument indispensable, surtout qu’il est disponible depuis un bon moment (disponible ici: www.enfantdesloups.com). En souhaitant de tout cœur que Lympia continue sur sa lancée. (77 min.)

CINEMUSIC.NET

FRANKLIN’S SCORE, THE FINEST RELEASE OF 2004 (by Paul Cote)

media: Internet (Canada) reviewer: Paul Cote reviewer’s rating: 5/5 publication: January 25, 2005 http://www.cinemusic.net

I generally consider myself fairly knowledgeable as far as film music is concerned, but I will freely admit that up until several months ago, the name Serge Franklin was entirely alien to me. Certainly, if someone had told me that he was a film composer whose most famous work was for a quickly forgotten French TV movie in the early 1990s, I doubt that my memory would have retained the name for more than five minutes. Yet here I sit, writing a 5-star review for this man's work, something I'm very rarely willing to do. For despite its obscure origins, I cannot help but view Serge Franklin's L'Enfant des Loups ("The Child of the Wolves", en anglais) as anything less than a pure masterpiece of the film music canon. It's a magnificent piece of music that ultimately defies description, but here's the best I can give you: if you were to take the lyrical beauty of Nino Rota's Romeo and Juliet, the frosty choral work of John Barry's The Lion in Winter, the medieval romance of Basil Poledouris' Conan the Barbarian, and the spiritual earnestness of Georges Delerue's Agnes of God, then you might have something that comes close to the brilliance of L'Enfant Des Loups. This score is colored with everything that made those scores personal favorites of mine, and joins them on that small shelf where I keep those places I turn to whenever I need to loose myself in a flood of sheer musical ecstasy, vivid emotion, and lush uncompromising beauty. With the exception of the Agnes of God, the one thing all of those above-mentioned scores hold in common is their medieval/Renaissance period stylizations, a trait that L'Enfant Des Loups shares. Set in 6th Century France, the film tells the story of a young nun who must protect her village and convent from an oncoming winter raid of the wolves who raised her as an infant. That juxtaposition of animal and pagan instinct with early Christianity in a medieval winter setting certainly sounds like the perfect canvas for any masterpiece of film music, and Franklin makes the most of it. Fueled with orchestrations and flourishes that suggest the Dark Ages without being restricted by them, Franklin's score is propelled by the same thematic contraries and polarities that drive the film. Warmth and lyrical beauty vie with icy apocalyptic fury, spiritual grace struggles to triumph over Bacchic abandon, and compassion fights with vengeance before resolution and ascension finally carry the score to one of the most fulfilling conclusions in recent film music memory. All of these ideas are clearly outlined with bold and multifaceted themes that gradually evolve as the score expands. There are too many excellent themes in the score to effectively discuss all of them in this review, but several strike particularly resonant chords for me. The notion of Divine Wrath is embodied in a theme that comes to life in "Kyrie (Ouverture)," powerhouse choral piece that combines the apocalyptic assault of Mozart's Requiem with the grand theatrics and propulsive descending arpeggios of Elliot Goldenthal. The theme is generally used for more discreet purposes, but when it explodes into the terrifying "Dies Irae" midway through the score, every hair on your body will be standing on end. Elsewhere, Franklin creates subtler chills, as with the menacingyet-seductive melody for wordless choir in the entrancing "Apocalypse," and the erotically charged pagan chant in "Danse des Sacrilèges." (for more, see next page)

CINEMUSIC.NET

FRANKLIN’S SCORE, THE FINEST RELEASE OF 2004 (by Paul Cote)

media: Internet (Canada) reviewer: Paul Cote reviewer’s rating: 5/5 publication: January 25, 2005 http://www.cinemusic.net

Yet as powerful as the demons in this score are, the real heart of the epic lies in the exquisite lyricism that Franklin creates for the warmer and more human side of the story. A love theme graces us with exuberant joy each time it appears, gaining more confidence with each newfound expression. We hear it first in the understated "Le Cri des Loups," but by the time it reaches the climatic "Vanda and Albin," the theme has grown so sublime that you can practically feel its feet lift off the ground. But the theme that ultimately makes the biggest impact is the tragic, soul-destroying melody that serves as the score's driving force. Harkening memories of Rota's immortal theme for Romeo and Juliet, the melody is so long and elaborate that it could easily be considered four separate themes, each excellent in its own right. Played in sequence, however, the pieces support, enhance, and evolve into each other with mesmerizing finesse. The first three segments of the theme are clearly outlined with poignant solos for flute and oboe in the opening "Prologue." As the score progresses, however, Franklin carefully begins to resolve the theme with a fourth segment that ultimately carries the score to a breathtaking finish in the concluding "L'Enfant des Loups". This particular cue just may be one of film music's most stunning finales, uniting the "Kyrie/Dies Irae" material with the "Prologue" theme before ascending out of despair and into enlightenment in the score's final triumphant chords.

The raw beauty, power, and emotion driving these themes would be enough to assure this score classic status, but it's in the meticulous way that Franklin develops and evolves these themes into his tapestry that gives L'Enfant des Loups the richness of a masterpiece. In his liner notes, Franklin states that he "wanted to humbly apply what was obvious in Mozart's music since he does not begin a work without knowing which note will be the last" and as lofty as that ambition may sound, Franklin achieves it many times over. There is not note in his score hasn't been carefully placed with consideration to its place in the work as a whole, in terms of both the technical and dramatic spectrum. And yet the score's original release only revealed a small portion of this vision. Believe it or not, this is actually an expanded release of an album that was released over a decade ago. A glance at the "previously unreleased" asterisks on the back cover reveal that the original album was missing some of the most important highlights of the score, including the aforementioned "Prologue," "Kyrie," and "Vanda and Albin". Needless to say, if you're one of the few who picked up that first release, this newly expanded edition from Lympia Records is still well worth your investment. It adds over 20 minutes of crucial material and features a new master of the original stereo tracks that gives us the aural equivalent of stepping directly into an ancient cavernous monastery. The likelihood of such an obscure score getting such first-class treatment must have been miniscule, so we owe a great dept to the people at Lympia Records who had the foresight to make this release take fruition. (for more, see next page)

CINEMUSIC.NET

FRANKLIN’S SCORE, THE FINEST RELEASE OF 2004 (by Paul Cote)

media: Internet (Canada) reviewer: Paul Cote reviewer’s rating: 5/5 publication: January 25, 2005 http://www.cinemusic.net

And yes, I realize that a 5-star review for a score to an obscure decades-old French television miniseries from a composer you've never heard of is probably hard to swallow, but please trust me this time. Even if you've passionately disagreed with all of my other reviews, even if you think you've just wasted 5 minutes reading through the inane ramblings of a giddy fanboy, even if you only take a fraction of the enjoyment I take from this score – I am still convinced that purchasing L'Enfant des Loups will leave you without a single regret. 2004 has been particularly generous with restored releases of film music masterpieces, with complete editions of Bernstein's The Great Escape, North's The Agony and the Ecstasy, and Kaper's Mutiny on the Bounty revealing constant miracles to the film music community. Franklin's name might not seem as important as any of these legends, but his score for L'Enfant des Loups is a masterpiece that deserves just as much recognition as any of these more prominent scores. The release has been limited to 1500 pressings, but amazingly, copies are still available as of this writing. Had it been a Varese Club release, I'm sure it would have sold out within days. I cannot urge you more strongly to pick up a copy while you still have a chance – I've been sitting on this score for months now, and each new listen only further cements my conviction that as a stand-alone listening experience, Franklin's score is the finest release of 2004. (Paul Cote—Cinemusic.net)

LYMPIA RECORDS B.P. 40627 73006 CHAMBERY CEDEX FRANCE [email protected] http://www.lympiarecords.com LYMPIA RECORDS is a trademark of LYMPIA PRODUCTIONS, S.A.R.L.

http://www.enfantdesloups.com Order / Retail Place:

http://www.lympia.net/boutique/ SPECIAL SIGNATURE EDITION LIMITED TO 1500 COPIES