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Elliot Fisch
American Record Guide, March 2016

This complete recording brings the music to the forefront in excellent sound and is beautifully played by the Moscow Symphony. The addition of the cut music brings cohesiveness to the score, allowing for a better assessment of the music. © 2016 American Record Guide Read complete review on American Record Guide

Barry Forshaw
Classical CD Choice, July 2015

While Moby Dick may be somewhat neglected as a film score, the reputation (among some music aficionados) for Philip Sainton’s music for John Huston’s adaptation of the Melville classic has many admirers, and Stromberg does it justice here. © 2015 Classical CD Choice

David Denton
David's Review Corner, July 2015

It seems almost perverse that the name of a composer who looked for recognition in the concert hall, should end up remembered by just one film score, Moby Dick. Philip Sainton, born in 1897, had an ancestry steeped in classical music, though, sadly for him, the missing link was his father who did all possible to deflect his son from that field of employment. Despite those parental protestations, he had become a professional orchestral musician of some standing when a domestic accident to his hand brought it to an early conclusion. He then turned to composition, though, at best, he was only modestly successful, when ‘out of the blue’ came an offer to write a score for the epic seascape film, Moby Dick. How the director, John Huston, chose him was one of those ‘million-to-one’ stories, though he repaid that faith with a score that so perfectly captured the mood of Herman Melville’s famous book. Released in 1956, critics were unanimous in their praise for Sainton, though it was a fleeting fame, his name soon falling into obscurity. That was to change again when the Marco Polo record label began its Film Music Classics series, and the prospect of placing the score on disc came to the attention of John Morgan, the film music restoration expert. Unlike many other films he had worked upon, a full score existed and Sainton’s daughter knew where it had been kept. It gave Morgan a starting point, and finding much more than appeared in the film, a decision to record the whole work was taken. The result is a score steeped in Hollywood traditions with just fleeting references to Vaughan Williams as its sole British input. Calling for a relatively modest sized orchestra with a virtuoso role for two timpanists, you can relate the story by following the twenty-six tracks. The recording, made in 1997, has the inveterate American film-buff conductor, William Stromberg, directed the Moscow Symphony Orchestra and Chorus. It is admirable in every respect, the engineers capturing the detail of Sainton’s intricate scoring. © 2015 David’s Review Corner

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