Carl Davis
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Most recent and future highlights include the premiere of his score for the new major animated movie Ethel and Ernest‚ his new ballet score Nijinski‚ commissioned by the National Ballet of Slovakia‚ further performances of Abel Gance’s 1927 silent movie Napoleon‚ scored and conducted by Davis‚ at the Royal Festival Hall with the Philharmonia‚ and as part of the Holland Festival‚ his new scores for Harold Lloyd’s The Freshman and Why Worry‚ and for Buster Keaton’s Steamboat Bill Jnr. at the Turner Classic Movie Festival in Hollywood. Many of his silent movie film scores can now be found on DVD/BluRay restorations on The Charles Cohen Collection‚ Janus Films and BFI labels.

Other engagements have included the US premiere of Napoleon (San Francisco Film Festival)‚ his score for Harold Lloyd’s Why Worry at the Turner Classic Movie Festival‚ the UK premiere of his ballet Aladdin‚ music for the most recent Upstairs Downstairs‚ for which he was nominated an Ivor Novello Award for Best Television Soundtrack (BBC)‚ a large-scale commission Last Train to Tomorrow on the subject of the Kindertransport (Hallé Orchestra and Children’s Choir)‚ and concerts and films with Malaysian Philharmonic‚ Rochester Philharmonic‚ Kiel Philharmonic‚ Pacific Symphony‚ Czech National Symphony‚ Pordenone Festival and all the major UK orchestras.

Born in New York in 1936‚ Carl Davis studied composition with Paul Nordoff and Hugo Kauder‚ and subsequently with Per Nørgaard in Copenhagen. His early work in the USA provided valuable conducting experience with organizations such as New York City Opera and the Robert Shaw Chorale. In 1959 the revue Diversions‚ of which he was co-author‚ won an off-Broadway Emmy and subsequently travelled to the 1961 Edinburgh Festival. As a direct result of its success‚ Davis was commissioned by Ned Sherrin to write music for That Was The Week That Was. Other radio and TV commissions followed and Davis’s UK career was launched. Since then he has been enormously successful in the world of theatre‚ composing scores for the Royal Shakespeare Company and the National Theatre‚ and working closely with such artists as Laurence Olivier‚ John Gielgud‚ Joan Littlewood‚ Jonathan Miller‚ John Wells‚ Barry Humphries and Billy Connolly.

Equally well-known in the field of dance‚ his first assignment began with London Contemporary Dance Theatre‚ composing for David and Goliath (1975) and Dances of Love and Death (1981). Sadler’s Wells Royal Ballet commissioned A Picture of Dorian Gray (1987). Further commissions include the award-winning A Simple Man (1988) and Lippizaner (1989) (Northern Ballet Theatre with Gillian Lynne)‚ Liaisons Amoureuses (1989) and A Christmas Carol (1992); Aladdin (2000)‚ (Scottish Ballet with Robert Cohen)‚ taken by David Bintley for Tokyo’s New National Ballet (2008). His association with Derek Deane led to a full-length ballet‚ Alice in Wonderland (1995) commissioned by the English National Ballet‚ as well as The Lady of the Camellias (2008)‚ (National Ballet of Croatia). A full-length ballet commissioned by David Bintley for Birmingham’s Royal Ballet resulted in Cyrano (2007).

Davis’s output for film and television is vast‚ including The World At WarThe Snow GooseHotel du LacHollywoodThe Naked Civil ServantSilas MarnerChampionsScandalThe Commanding SeaOppenheimerThe Rainbow and The French Lieutenant’s Woman (winner of both BAFTA and Ivor Novello awards). BBC’s Pride and Prejudice (nominated for a BASCA Ivor Novello award for Best Music for a TV Production‚ 1996) has been one of his best-loved scores and was followed by Cranford (2007). Music for silent films has been an enduring strand to Davis’s activities: a project to revive the Chaplin films has focussed on The Mutuals‚ a cycle of 12 films all with original Davis music. His 1980 score for Abel Gance’s silent film Napoleon triggered an extraordinary revival of interest in the silent film‚ and Davis’s oeuvre of more than fifty scores for this medium‚ including Flesh and the DevilBen-HurThe Thief of BagdadGreedIntoleranceSafety Last and The General‚ has brought him international acclaim. The Phantom of the Opera was the first silent film to be performed at the Royal Opera House (2006) conducted by the composer.

Throughout his career Carl has composed concert works‚ amongst which are Clarinet ConcertoFantasy for Flute‚ Strings and HarpsichordBallade for cello and orchestra and a symphony Lines on London. In 1991 his collaboration with Paul McCartney produced Liverpool Oratorio‚ which has been performed worldwide‚ and achieved record CD sales‚ whilst the BBC documentary and EMI’s commercial video have done much to publicize this new departure for both composers. He has been honoured on both sides of the Atlantic for his work as a composer and conductor‚ receiving in 2003 a BAFTA Special Lifetime Achievements Award. In 2005 he was awarded CBE (Hon.) for his services to music and he recently accepted membership of The Academy of Motion Pictures‚ Arts and Sciences.

Smouldering Fires, Fastnet Festival

And on Friday night I saw a marvel at the Fastnet Film Festival in southwest Ireland. The eminent screen composer Carl Davis, at 82, opted for the first time to accompany a restored silent film without having composed a score. He improvised at the piano after one viewing of the rare 1925 film Smouldering Fires. White hair flying, hands never still, he delivered 80 minutes of virtuoso atmosphere and drama on the wing, never failing to illustrate a satirical scene-cut or a raised eyebrow from the conflicted lovers on the screen.

The Times (May 2019)

Wings‚ Orchestra of Opera North

At the end of the showing of Wings at Huddersfield Town Hall‚ a sizable proportion of the audience rose in a standing ovation. Who or what were they applauding? William Wellman‚ dead these 40-odd years‚ for an inspired piece of film-making? Carl Davis‚ for a magnificently dramatic score or for a near-60 year career creating some of the best in film‚ television and theatre music? ...It’s hard to imagine that the now-forgotten Zamecnik produced anything to rival Davis’ score‚ full of variety and contrasts‚ by turns explosive and lyrical‚ with a witty use of borrowed melodies and styles: gymnastics and boxing in training are accompanied by an Irish jig‚ sly hints of “This is the Army‚ Mr. Jones” recur and Davis scores the most rousing version imaginable of La Marseillaise.

The Reviews Hub (October 2018)

Ethel & Ernest

Carl Davis contributes an original score with an aptly cheery-bye‚ Hail Britannia flavor‚ and numerous golden oldies (“The Lambeth Walk‚” et al.) soundtracked and/or sung by high-spirited Ernest further heighten the nostalgia value.

Variety (December 2017)

Napoléon‚ Abel Gance‚ BFI Film

The film’s mid-section burns slowly‚ but its climax – scored to Carl Davies’ rhapsodic fanfare – is the sort of cinema which stops the blood in your veins and draws the tears from your eyes.

Little White Lies (November 2016)

Gance floats his camera on water‚ even underwater at one point. His strikingly dense and complex mise en scène is complemented by a superb orchestral score by Carl Davis...

The Observer (November 2016)

And the score. The score is L. O. U. D. This is not the sound of sitting in the pricey seats‚ it’s more like being at the heart of the orchestra pit‚ with the music assailing you on all sides. And such magestic‚ heroic music‚ you could close your eyes and be swept along on a tide of French patriotism‚ were it not a crying shame to miss out on Gance’s multifaceted vision. At full pelt‚ this film still feels modern and pioneering: like it is trying out a new kind of cinema to see if it fits.

Silent London (September 2016)

Ben Hur‚ The City of Birmingham Symphony Orchestra

The moods evoked by the music perfectly match the action and‚ while the music does not try to synchronise with every blink and gesture‚ it does complement the action effectively. And Davis the maestro is at the centre making sure that synchronicity is complete like a latter-day Prospero orchestrating the great storm in The Tempest.

The Reviews Hub (May 2016)

Napoléon‚ Mojo/Holland Festival

From the moment the Arnhem Philharmonic Orchestra began its marathon to the touching afterword by the film’s editor and curator Kevin Brownlow‚ the performance combined a dazzling piece of cinema with a superlatively arranged score by Davis‚ who effortlessly synthesized contemporaneous symphonies by Beethoven and Mozart with his own original themes into a resounding pastiche score that spans all five and a half hours of film. This event‚ part of the Holland Festival and previously hosted in San Fransisco and London‚ was a rare opportunity to experience the sublime.

Bachtrack (June 2014)

Besides the masterful arrangement of symphonic works‚ Davis also composed large pieces of new music for the film. While lacing the score with Beethoven‚ Mozart‚ and Gossec‚ Davis creates remarkable‚ original themes for important characters in the film. Though not as exquisite as Beethoven or Mozart‚ these themes transition naturally between the symphonic arrangements. Perhaps anachronistic for the music in Napoleon’s time‚ these early Romantic themes composed for both Josephine and a majestic eagle (symbolizing Napoleon)‚ reminded me of‚ dare I say it‚ Wagner’s leitmotifs! Davis weaves these musical aspects together elevating the entire work to the heights of French‚ Romantic‚ sweeping grand opera. This was definitely a once-in-a-lifetime experience.

Bachtrack (June 2014)

The Holland Festival in the colossal poptemple Ziggo Dome‚ one certainly doesn’t expect that. The mega space opened their ports for the colossal unfinished masterpiece ’Napoleon’‚ by cineast Abel Gance‚ accompanied by the Gelders Orkest with as conductor the composer
himself: Carl Davis. The masses streamed inside to attend a cinephile experience on a megalomanic projection screen. A unique spectacle which you will not encounter so soon again

De Volkskrant (June 2014)

From the 56 productions the opera ’Orlando’‚ directed by Pierre Audi‚ was chosen as the public’s favourite‚ together with the monster project ’Napoleon’‚ the silent movie from 1927 by Abel Gance.

Het Parool (June 2014)

The Freshman (new DVD and BluRay from Criterion Collection)

The new score by Carl Davis‚ presented in a LPCM 2.0 track‚ is an improvement over the previous DVD track by Robert Israel‚ as the feel aligns better with the mood of the movie. The ensemble comes across strongly‚ but with appropriate separation for the instruments‚ while the overall track has just the right power for the film‚ especially during the big football game. A quality presentation.

DVD Talk (March 2014)

Napoléon‚ Philharmonia Orchestra‚ Royal Festival Hall London

The Royal Festival Hall‚ all day yesterday‚ showed for the third time since 2000 the full five and a half hour restoration of Gance’s film which has represented nearly fifty years of dedication and work by Kevin Brownlow‚ bringing together elements thought to be long lost‚ assembling them in the right order by means of consultation of a shooting script which has survived through the years‚ and presenting the finished work with a score by Carl Davis which mixes original themes with borrowings and arrangements from a range of classic composers to provide an emotional punch which really cannot be equalled as a cinematic experience... the climactic music of the Davis score‚ is the last word in patriotism... The standing ovation this screening received last night was a tribute to him just as much as for Photoplay and Brownlow‚ and for Carl Davis and the Philharmonia Orchestra. The greatest film ever made? Perhaps – perhaps not. But as a cinematic experience‚ and an example of live silent cinema‚ it cannot be equalled

Lou Reviews.wordpress (December 2013)

My eyes and ears are still adjusting back to normality. Yesterday’s screening of Abel Gance’s Napoléon at the Royal Festival bombarded the senses and befuddled the brain. It was not‚ as you may have been warned‚ a marathon. The five-hours-forty-minutes running time appears to go by in a flash‚ powered along by Carl Davis’s invigorating orchestral score. I would happily watch it all again tomorrow and the next day... It’s a monument to patriotism of course‚ but in the RFH last night‚ our awe at the work of Gance‚ of Brownlow and of Davis‚ rekindled our devotion not to a country but to the cinematic arts. A magnificent monstrosity‚ Napoléon offers refined beauty‚ raw thrills and a thousand and one reasons to adore the cinema

SilentLondon.co.uk (December 2013)

It’s only a movie‚ Ingrid. Those were the words that Alfred Hitchcock used with Ingrid Bergman and other stars who took their acting too seriously. Most films are indeed only movies‚ but not Abel Gance’s Napoléon. More than five hours in the unravelling‚ performances of Gance’s silent French epic of 1927 have become a ritual experience‚ almost religious‚ where audiences worship a force far beyond Napoleon himself. It’s the force of cinema roaming wild and free‚ untrammelled by dialogue‚ matched to live music surging ahead with its own expressive power. Carl Davis created his score in 1980 for Kevin Brownlow’s initial Photoplay Productions restoration‚ and the choices he made then — ample quotes from Beethoven and company‚ threaded with tremulous themes of his own — still seem inspired. The Philharmonia‚ under Davis’s baton‚ grew more lustrous as the hours passed. I particularly relished the scoring’s changing colours‚ from rustic basset horn and plangent cello to obstinate hurdy-gurdy and exquisite string quartet

The Times (December 2013)

Safety Last! [Blu-Ray DVD]

The full orchestra score was composed and conducted by Carl Davis in 1989‚ and presented in the original two-track stereo mix. I love Davis’ work and this score lived up to my expectations. As befits the urban 1920s setting‚ the music is upbeat and jazzy‚ and always matches and enhances the onscreen scene

Bayflicks.net (June 2013)

Safety Last! can be viewed with two different scores. The first is Carl Davis’ 1989 orchestral score...Carl Davis’ score sounds great - there is an excellent range of nuanced dynamics and depth and clarity are terrific. The sound is also consistently crisp. Gaylord Carter’s score is a bit more subdued‚ lacking the oomph and clarity of Carl Davis’ score

Blu-Ray.com (June 2013)

You can have the 2.0 channel score by composer Carl Davis from 1989‚ synchronized and restored under his supervision and presented in uncompressed stereo or an alternate score by organist Gaylord Carter from the late 1960s. I tested both but stuck with the more robust Davis score. Both sounded crisp with a appropriately tinnier high-end. Sweet and authentic

DVD Beaver (June 2013)

Carl Davis’ 1989 score is the default audio track and it is bright and boisterous as the film begins and maybe I just wasn’t ready for such clarity from a 1923 film‚ though when I switched over to Gaylord Carter’s 1960 organ score I quickly bounced back to Davis’

Rope of Silicon (June 2013)

James Bond‚ Rochester Philharmonic USA

Guest conductor Carl Davis‚ anything but undercover in flashy attire‚ including a bedazzled Union Jack vest‚ led the RPO through more than two dozen musical numbers from the Bond catalogue. Starting with John Barry’s theme from 1962’s "Dr. No" and building to Adele’s award-winning title song from 2012’s "Skyfall‚" Davis gave the audience a crash course in Bond-ology‚ tracing the iconic spy in his film adventures. Davis imparted little bits of information about the actors who played the role‚ as well as the musicians and composers who have been involved in scoring the series over the decades

Rochester City News (February 2013)

James Bond 50th Anniversary Concert‚ Royal Festival Hall

Those versatile singers‚ Mary Carewe and Lance Ellington‚ did sterling work alongside the Philharmonia. Carl Davis — who strode out in a Union Jack waistcoat — was his usual pixie-ish self on the podium. Who knows‚ the pieces may well fit together more snugly when the concert is broadcast.
The inevitable problem with a chronological journey is that‚ once you get past Marvin Hamlisch and Carole Bayer Sager’s tongue-in-cheek collaboration on Nobody Does It Better‚ the quality control becomes variable‚ to say the least. Duran Duran’s A View to a Kill was one of several low points after the interval. The first half was a treat‚ none the less. While nobody could fill Shirley Bassey’s shoes on Goldfinger‚ and the drums were pushed forward in the mix‚ John Barry’s orchestration still soared. And it was well worth being reminded that‚ though the Sixties version of Casino Royale was a train wreck‚ it still gave us Burt Bacharach’s The Look of Love.
Blackman’s links were witty but light on background information. For that‚ you have to turn to Jon Burlingame’s newly published book The Music of James Bond‚ which explores‚ for instance‚ the tangled legal dispute over Thunderball. Towards the close‚ there was a pleasant surprise when Carewe‚ Ellington and the orchestra joined forces to breathe life into the much-ridiculed theme from Quantum of Solace. And even if the phrase “best Bond ever” is the most ludicrous PR phrase of the year‚ Adele’s Skyfall does at least contain echoes of the golden age.

The Times (November 2012)

Ben Hur‚ Liverpool Philharmonic

...the Royal Liverpool Philharmonic Orchestra provided the background score and quite an event it was‚ too. Conducted by the score’s composer‚ Carl Davis‚ the orchestra brought the film to life. Most notable were the two climaxes either side of the intermission – the battle scene and the chariot race – where the full force of the Philharmonic brass added a chilling aura to the overall effect. In the race‚ the stereo timpani added mightily. Davis’s score‚ now 23 years old‚ sounded fresh and having the composer in charge meant that‚ for the most part‚ the special effects actually coincided with the action on screen

Liverpool Daily Post (October 2012)

Ben Hur‚ Royal Festival Hall

In many ways the score to Ben-Hur is as strong and resplendent as the movie itself. Written for a large orchestra – beautifully played by the Philharmonia Orchestra in full flow…the integrity of the score shines forth...Davis does a wonderful job in capturing the feelings inherent in each scene; tenderness‚ exoticism‚ fury‚ excitement‚ grandeur. The film itself has all these requirements to fulfil...The two big action scenes cover the sea-fight between the Romans and the pirates and‚ of course‚ the famous Chariot Race. Both are notable events in the history of the cinema...Davis depicts the action with such polish and professional pride that Lillian Gish would be heartbroken to see the film today without music. Above all Carl Davis’s work assists the movie’s ambition to stir the mind and the heart. What a film‚ what a score

Classical Source (June 2012)

Ben Hur is just the third of more than thirty scores which composer/conductor Carl Davis has written to accompany silent films. Although it was written as far back as 1987‚ the music still has enough power and originality to impress. Like the 1925 film epic it was written for‚ Ben Hur is composed on a huge scale. The eighty-two players of the Philharmonia Orchestra crammed the Royal Festival Hall stage‚ with a large (though not enormous) silver screen displaying the film behind them. Under Davis’ exacting direction‚ their timing was impressive. Each musical and cinematic scene unfolded with near perfect precision‚ and certain sound effects — cracking whips and chariot crashes‚ for example — came in right on cue. Even the odd split-second miss added to the authenticity of the silent era cinematic experience. The score itself is more than a mere aural accompaniment. Davis weaves a two hour symphonic poem out of distinct musical themes for the principal characters and their struggles. The biblical scenes‚ which include Christ’s birth‚ sermons and final crucifixion‚ are built on a Lutheran chorale which was also quoted in works by Mendelssohn and Wagner. Grand set pieces‚ like the Roman naval battle and the famous chariot race around the arena in Antioch are appropriately grand and energetic…shades of Strauss’ Salome in the swankily exotic feasting scene; and plaintive organ solos during the New Testament tableaux…The enthusiastic reception of the audience bodes well for the South Bank’s next outing at the silent cinema next year‚ when Davis and the Philharmonia will present the 1924 classic The Thief of Bagdad

MusicOMH (June 2012)

Last Train to Tomorrow‚ Halle Orchestra

To see the world premiere of a new work greeted by a standing ovation from the entire hall is a rare experience. Most new orchestral-choral music is heard by a handful of anoraks and gets polite appreciation at best. But they hit on something very special when they asked Carl Davis to write a 40-minute work for the Hallé Children’s Choir (pictured right) and Hallé Orchestra. And he is a master at delivering effective‚ appealing music that fits its specification precisely. Last Train To Tomorrow tells the story of the Kindertransport of 1938-9 – the near-miraculous evacuation of about 10‚000 Jewish children from Europe to England by train to escape the Nazi threat. It’s a sequence of songs for children’s soloists and chorus‚ and spoken lines from young actors (from Manchester Metropolitan School of Theatre School of Theatre) with orchestral accompaniment. Hiawyn Oram has created a superb piece of writing for Davis to provide music to – powerful in its simplicity‚ directness and truthfulness. Under David Shirley’s direction it became a deeply emotional experience in the Bridgewater Hall performance. The Hallé Children’s Choir members’ performance was way above anything you might justifiably expect‚ and I hope they’ll remember what they achieved on Sunday for the rest of their lives

City Life.co.uk (June 2012)

The exceptionally moving and heartwarming story of more than 10‚000 mostly Jewish children being brought to the safe haven of these shores between December 1938 and September 1939 to rescue them from being victims of the Holocaust‚ Kindertransport‚ has oft been told. But now we hear it afresh through the voices of children in a dramatised re-telling. The coincidence of composer Carl Davis’s interest in this extraordinary experience and the Halle’s desire to commission new work for their children’s choir has resulted in Last Train to Tomorrow...It was an occasion to remember culminating in a powerful and hypnotic 45-minute evening that moved its audience to tears

Arts Desk.com (June 2012)

Napoleon‚ Paramount Theatre‚ Oakland‚ California

But maybe the greatest gift of this Napoleon is the opportunity for American audiences at last to hear music that is fully the equal of the powerful images it accompanies. Carl Davis conducts the Oakland East Bay Symphony in a spirited account of his stamina-challenging score‚ which‚ like Brownlow’s restoration‚ has grown over the years

Financial Times (March 2012)

Wild Wild West‚ Hallé Orchestra

The Wild Wild West‚ Bridgewater Hall‚ Manchester. The Halle Orchestra took a canter through the ages of the Western in yesterday’s latest concert from its pops series. Aimed at encouraging new audiences to its concerts‚ as well as entertaining firm fans‚ this magnificent set of musicians gave tune to some of the best-known tracks from some of the most popular films to grace both the big screen and TV. New-York born conductor Carl Davies led the Halle at a cracking pace as it galloped through hits from the Westerns spanning more than seven decades

Oldham Chronicle (December 2011)

Carl’s War (CD)

Incidental music doesn’t come much more accomplished than this. Car Davis has always had an enviable knack for matching music to pictures‚ and this CD will trigger sharp visual images in what I suspect is the target audience: those who remember these TV films and documentaries‚ all concerned with World War II......... it’s lovingly played............*****

BBC Music Magazine (May 2011)

Chaplin

If you want to see the funniest boxing match in the history of film‚ or discover just how many jokes can be extracted from a prison-escape chase sequence‚ then rush to the next venue at which The Fugitive‚ City Lights‚ and Carl Davis will be casting their magic spell

Nottingham Evening Post (March 2005)

Harold Lloyd: Safety Last

The latest visit by Carl Davis for a screening of the Harold Lloyd comedy‚ ‘Safety Last’ was yet another triumph

Birmingham Evening Mail (November 2003)

Buster Keaton’s: The General

Davis’s wonderfully written score worked so well with the images that the audience soon became unaware of the orchestra sitting beneath the suspended screen. Lost in the magic of the moment and buoyed by the music‚ time flew by for those watching‚ testament once more to the amazing skills of Maestro Carl Davis

Kuala Lumpur (January 2003)

23rd November, 2019

Shaken, Not Stirred - Philharmonia Orchestra

Marlowe Theatre, Canterbury
Membran

Bernstein - Symphonic Dances, Leonard Bernstein

Silva Screen

Chaplin: City Lights Original Score, Charles Chaplin

Silva Screen

Charlie Chaplin: The Essential Film Music Collection

Decca

Copland: Vocal and Orchestral Works, Aaron Copland

This Is Music

Carl Davis – The World at War, Pride and Prejudice and other themes

Acorn Media

A Dance to the Music of Time (1997), Carl Davis

Carl Davis Collection

Last Train to Tomorrow, Carl Davis

BBC

Pride and Prejudice: Original Soundtrack, Carl Davis

Carl Davis Collection

The World At War, Carl Davis

Carl Davis Collection

Napoleon, Carl Davis

Carl Davis Collection

Heroines in Music, Carl Davis

Carl Davis Collection

The Understudy, Carl Davis

Carl Davis Collection

Cyrano, Carl Davis

Carl Davis Collection

Music of Cranford, Carl Davis

Carl Davis Collection

Carl’s War, Carl Davis

MCPS

Carl Davis: Greatest Hits, with the Royal Philharmonic Orchestra

Criterion Collection

Safety Last [Soundtrack], Carl Davis

Richman Bros.

The French Lieutenant's Woman, Carl Davis

EMI Classics For Pleasure

Carl Davis Conducts His The Glenlivet Fireworks Music

First Night

Fire and ice LP, Carl Davis

First Night

A Simple Man, Carl Davis

First Night

Town Fox and Other Musical Tales, Carl Davis

Icon Home Entertainment

Scandal [DVD Sountrack], Carl Davis

ITV Studios

Widows Peak [Soundtrack], Carl Davis

Membran

Orchestral Works, Carl Davis

MILAN

The Trial [Soundtrack], Carl Davis

Naxos

Aladdin, Carl Davis

Opus Arte

A Simple Man (dvd), Carl Davis

Prometheus

Intolerance, Carl Davis

Silva Screen

Ben Hur [Soundtrack], Carl Davis

Silva Screen

The Silents, Carl Davis

Silva Screen

A Year In Provence [soundtrack], Carl Davis

Silva Screen

The Rainbow, Original Motion Picture Score, Carl Davis

Silva Screen

The Phantom of the Opera, Carl Davis

Sony

Topsy-Turvy [Soundtrack], Carl Davis

Varese Sarabande

Widows’ Peak, Original Soundtrack, Carl Davis

Membran

Delibes, Léo Delibes

Naxos

Great Movie Themes, Various

Clarinet Classics

Reflections – Clarinet Concertos, Finzi‚ Fitkin & Davis

Naxos

Curse of the Werewolf, Benjamin Frankel

Collins Classics

Orchestral Works, George Gershwin

Milan

Private Lives of Elisabeth and Essex, Korngold

Carlton Sounds

Imagine, (John Lennon) Royal Liverpool Philharmonic Orchestra

EMI

Liverpool Oratorio. Paul McCartney and Carl Davis

Carl Davis Collection

Alice in Wonderland – Ballet, Tchaikovsky arranged by Carl Davis

ABCD

I am what I am, Shirley Bassey

BMG

Circle of Life, The King’s Singers

Cambridge Classics

Britannia - The Greatest British Album of the Century, Various

Carl Davis Collection

Sacred Seasons, Various

Classics for Pleasure

Broadway Scores: West Side / Porgy / Oklahoma, Various

EMI

America: The King’s Singers , Various

Virgin Classics

Philharmonic Fanfare, Straus, Brahms, Delius, Copeland, Davis

EMI

The Sound of Music, South Pacific, Showboat, My Fair Lady, Various

Empire Music Group

Great Western Themes, Various

Koch Jazz

Memories in Swing, Various

IMP

Liverpool Pops at Home, Various

Naxos

20th Century English Ballets, Various

Naxos

Great Movie Themes Volume 2, Various

Regis

Film Theme Classics, Various

RLPS

Willard White, A Gala Celebration, Various

RPO

The Best of Bond, Various

Silva Classics

Cinema’s Classic Romances, Various

Silva Screen

A History of Horror – from Nosferatu to The Sixth Sense, Various

Sony

My Way: Willard White, Various

EMI

Walton: Film Music, William Walton

Ter

Steet Scene, Kurt Weill