The Sunday Times
Henze is best known for bulky stage works, but his catalogue includes much chamber music, of which this disc provides an enjoyable selection. Two items are operatic spin-offs: Ein kleines Potpourris aus der Oper "Boulevard Solitude" is three movements for flute, vibraphone, harp and piano, and is followed by a violin-and-piano Sonatina, based on his children's opera Pollicino. The sturdily dissonant Toccata mistica, for piano (Ciro Longobardi), is linked to the oratorio The Raft of the Medusa, and Neue Volkslieder und Hirtengesänge, scored for bassoon, guitar and string trio, to music Henze wrote for Oedipus Rex. Carillon, Récitatif, Masque is a glistening little opus for mandolin, guitar and harp.
Instead of paying homage to John Williams' celebrated score for Richard Donner's 1978 Superman film, as composer John Ottman did with Bryan Singer's 2006 reboot Superman Returns, Hans Zimmer has crafted an entirely new set of themes for Man of Steel, director Zack Snyder's 2013 re-reboot of the franchise. Closer in tone to the composer's work on Christopher Nolan's Batman trilogy, the 15-track Man of Steel is grittier and darker than any of its predecessors, due in large part to Zimmer's proclivity for non-stop, thunderous percussion, though it retains enough goose bump-inducing moments to be called a proper Superman score, especially on the elegiac "Look to the Stars" and its soaring counterpart (pun intended) "What Are You Going to Do When You Are Not Saving the World?," both of which dutifully reflect the iconic superhero's propensity for both goodness and might. A Limited-Edition Deluxe version added bonus tracks.
Chappie was bound to be something a little special since it is composer Hans Zimmer’s first all-electronic score in 25 years. He also had a little help with this, with additional music by Steve Mazzaro and Andrew Kawczynski. But how did it turn out? Chappie, being a film about a robot that can feel and think like a child can, is quite an interesting movie for anyone to score. It has to have somewhat of a child element, while still remaining robotic and ready for action and intensity…
German musician Hans-Martin Linde has established impressive credentials in so many fields of endeavor that it is difficult to give him a primary classification. Some biographers will call him a flutist and recorder player first, then a conductor. He began his career as a flutist, but eventually turned to conducting, without, however, abandoning the flute or recorder. He has also performed in concert as a baritone singer; has drawn notice as a composer, particularly for his 1993 Concerto for recorder and strings; and has authored several authoritative books on flute and recorder performance.