The Prisoner, not to be confused with the cult television series, was dark fiction loosely based on the case of Cardinal Mindszenty. The music reflects the story line: stark, desolate and foreboding. For the most part these scores should appeal to admirers of Frankel's symphonic output.

With over an hour dedicated to the two main features, the remaining films are represented by brief excerpts. Both are charming' interludes that sound positively old-fashion sandwiched between their modernistic counterparts. Davis and the Liverpoolers do the music proud, and Naxos contributes realistic sonics.

The recording approach here is more typical of classical music releases but features a stellar sound that is crystal clear. The details of different parts in the orchestration are fascinating to hear. The largest problem some will have is that the dynamic ranges are somewhat extreme in places making it difficult to hear quieter passages before they are overcome by triple forte ones. The classical music recording approach may be off-putting to those who like their soundtracks recorded in a drier, more immediate acoustic.

CURSE OF THE WEREWOLF has many interesting musical touches. There is a sound in this score that feels like the template for all Hammer scores to come. The strong dissonant, atonal passages that permeate the opening “Prelude” give way to more lyric and gentle passages in the “Pastoral” segment. The “Final Trnasformation” has an interesting ostinato pattern that moves through various instruments. A shimmering vibraphone effect also plays a hand in spots. The “Finale” for this score is a wonderful orchestral scherzo with astringent jazz rhythms pulsing against heroic horn gestures and various atonal colors. It makes for fascinating listening and one can see how this score has achieved cult status with fans of the film.

The suite of music from SO LONG AT THE FAIR is a pleasant enough contrast that fits nicely alongside the music of Malcolm Arnold with a little Delius thrown in for good measure. It is perhaps this latter composer where Frankel finds a kindred spirit. Both composers seem to approach melody in a similar way but from two completely different harmonic languages. Frankel thinks of melody in smaller units that ebb and flow in an almost subconscious way moves freely between late-romantic and atonal styles. Even in the segment “Carriage and Pair” the melody seems almost incidental to the proceedings. You will remember the tune less than the whole of the piece and this is part of understanding and appreciating Frankel’s style. Even the “Love Theme” from THE NET, while gorgeous, is a piece of angular writing and wonderful orchestration that is not afraid to move into dissonant territory.

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